Queer Wiki qwikiwiki https://qwiki.miraheze.org/wiki/Main_Page MediaWiki 1.40.1 first-letter Media Special Talk User User talk Queer Wiki Queer Wiki talk File File talk MediaWiki MediaWiki talk Template Template talk Help Help talk Category Category talk Module Module talk 10 121 966 2015-01-23T10:29:55Z wikipedia>Mr. Stradivarius 0 switch this to use [[Module:Icon]] wikitext text/x-wiki {{#invoke:Icon|main}}<noinclude> {{documentation}} <!-- Categories go on the /doc subpage, and interwikis go on Wikidata. --> </noinclude> bd5b855953c5eec9d9c48400aa39315cb4218558 10 115 954 2015-12-26T16:26:10Z wikipedia>Frietjes 0 {{documentation}} does this wikitext text/x-wiki {{<includeonly>safesubst:</includeonly>#invoke:delink|delink}}<noinclude> {{documentation}} <!-- Categories go on the /doc subpage, and interwikis go on Wikidata. --> </noinclude> ccf86b4255142fffb206ab8240f36ed22e029d6a 10 141 1006 2016-04-29T21:00:11Z wikipedia>Ahecht 0 rm #titleparts wikitext text/x-wiki [[:Category:{{PAGENAME:{{{1}}}}}|{{{2|{{PAGENAME:{{{1}}}}}}}}]]<noinclude> {{Documentation}} </noinclude> 2f3365787e653c7567d4355e225be4c6c4295ebd 10 202 1114 2017-01-23T13:35:17Z wikipedia>MSGJ 0 MSGJ moved page [[Template:Tlp]] to [[Template:Template link with parameters]]: expand name of template wikitext text/x-wiki #REDIRECT [[Template:Template link with parameters]] {{R from move}} 3867e4ef4fe637ce8530859b5486b23e916d0b8a 10 199 1108 2017-03-25T12:38:46Z wikipedia>Jo-Jo Eumerus 0 Changed protection level for "[[Template:Ref]]": Allowing template editors on some templates with full protection dating back to pre-[[WP:TPROT|TPROT]] times which aren't too often or too sensitively used. ([Edit=Require template editor access] (indefi... wikitext text/x-wiki <sup class="reference plainlinks nourlexpansion" {{#ifeq:{{{noid}}}|noid||id="ref_{{{1}}}"}}>{{#if:{{{2|}}}|[[#endnote_{{{1}}}|{{{2}}}]]|[{{fullurl:{{FULLPAGENAME}}}}#endnote_{{anchorencode:{{{1|}}}}}]}}</sup><noinclude> {{documentation}} <!-- Add categories and interwikis to the /doc subpage, not here! --> </noinclude> fdbf1a14e8a8cd8cfd4434e43244061f18769de7 10 142 1008 2018-02-13T20:27:17Z wikipedia>WOSlinker 0 separate pp-template not needed wikitext text/x-wiki {{safesubst:<noinclude />yesno|{{{1}}}|yes={{{yes|yes}}}|no={{{no|no}}}|blank={{{blank|no}}}|¬={{{¬|no}}}|def={{{def|no}}}}}<noinclude> {{Documentation|Template:Yesno/doc}} <!--Categories go in the doc page referenced above; interwikis go in Wikidata.--> </noinclude> 1ad7b7800da1b867ead8f6ff8cef76e6201b3b56 10 147 1016 2018-02-27T17:34:09Z wikipedia>Primefac 0 [[Wikipedia:Templates for discussion/Log/2018 February 18#Template:Redirect3_and_Template:About2]] closed as merge ([[WP:XFDC|XFDcloser]]) wikitext text/x-wiki <includeonly>{{#invoke:redirect hatnote|redirect|1}}</includeonly><noinclude> {{documentation}} <!-- Categories go on the /doc subpage, and interwikis go on Wikidata. --> </noinclude> c764f9cf8b31b4d5aa3e131bf254bfc78e5ba39b 828 213 1136 2018-04-01T10:06:10Z wikipedia>Galobtter 0 fixed with text and selfref Scribunto text/plain local mHatnote = require('Module:Hatnote') local mHatlist = require('Module:Hatnote list') local mArguments --initialize lazily local mTableTools --initialize lazily local libraryUtil = require('libraryUtil') local checkType = libraryUtil.checkType local p = {} function p.distinguish(frame) mArguments = require('Module:Arguments') mTableTools = require('Module:TableTools') local args = mArguments.getArgs(frame) local selfref = args.selfref local text = args.text args = mTableTools.compressSparseArray(args) return p._distinguish(args, text, selfref) end function p._distinguish(args, text, selfref) checkType("_distinguish", 1, args, 'table') if #args == 0 and not text then return '' end local text = string.format( 'Not to be confused with %s.', text or mHatlist.orList(args, true) ) hnOptions = {selfref = selfref} return mHatnote._hatnote(text, hnOptions) end return p 0364d14af01fc656ad1d898c5036fbd12a7ca938 10 108 940 2018-12-16T20:13:00Z wikipedia>Amorymeltzer 0 Changed protection level for "[[Template:Category handler]]": [[WP:High-risk templates|Highly visible template]] ([Edit=Require administrator access] (indefinite) [Move=Require administrator access] (indefinite)) wikitext text/x-wiki {{#invoke:Category handler|main}}<noinclude> {{documentation}} <!-- Add categories to the /doc subpage, and interwikis to Wikidata. --> </noinclude> d14e9f545cf1833acbe174ae70b615c39b18cf63 10 118 960 2018-12-16T22:06:25Z wikipedia>Amorymeltzer 0 Changed protection level for "[[Template:Template other]]": [[WP:High-risk templates|Highly visible template]]: Transclusion count has increased dramatically ([Edit=Require administrator access] (indefinite) [Move=Require administrator access] (indefinite)) wikitext text/x-wiki {{#switch: <!--If no or empty "demospace" parameter then detect namespace--> {{#if:{{{demospace|}}} | {{lc: {{{demospace}}} }} <!--Use lower case "demospace"--> | {{#ifeq:{{NAMESPACE}}|{{ns:Template}} | template | other }} }} | template = {{{1|}}} | other | #default = {{{2|}}} }}<!--End switch--><noinclude> {{documentation}} <!-- Add categories and interwikis to the /doc subpage, not here! --> </noinclude> 06fb13d264df967b5232141067eb7d2b67372d76 10 197 1104 2019-01-03T16:44:20Z wikipedia>Neveselbert 0 fix wikitext text/x-wiki <{{#ifeq:yes|{{yesno|def=|{{{sub|}}}}}|sub|sup}} class="reference" {{#ifeq:{{{noid}}}|noid||id="ref_{{{1}}}{{{3|}}}"}}>[[#endnote_{{{1}}}{{{3|}}}|[{{{2}}}]]]</{{#ifeq:yes|{{yesno|def=|{{{sub|}}}}}|sub|sup}}><noinclude> {{Documentation|Template:Ref/doc}} <!-- Add categories and interwikis to the /doc subpage, not here! --> </noinclude> 6629d71b85bb6a53f2de636f29a475db8d57d887 828 143 1010 2019-01-06T22:38:25Z wikipedia>Johnuniq 0 fix unintended color2lum global error which is causing errors; clean whitespace Scribunto text/plain -- -- This module implements -- {{Color contrast ratio}} -- {{Greater color contrast ratio}} -- {{ColorToLum}} -- {{RGBColorToLum}} -- local p = {} local HTMLcolor = mw.loadData( 'Module:Color contrast/colors' ) local function sRGB (v) if (v <= 0.03928) then v = v / 12.92 else v = math.pow((v+0.055)/1.055, 2.4) end return v end local function rgbdec2lum(R, G, B) if ( 0 <= R and R < 256 and 0 <= G and G < 256 and 0 <= B and B < 256 ) then return 0.2126 * sRGB(R/255) + 0.7152 * sRGB(G/255) + 0.0722 * sRGB(B/255) else return '' end end local function hsl2lum(h, s, l) if ( 0 <= h and h < 360 and 0 <= s and s <= 1 and 0 <= l and l <= 1 ) then local c = (1 - math.abs(2*l - 1))*s local x = c*(1 - math.abs( math.fmod(h/60, 2) - 1) ) local m = l - c/2 local r, g, b = m, m, m if( 0 <= h and h < 60 ) then r = r + c g = g + x elseif( 60 <= h and h < 120 ) then r = r + x g = g + c elseif( 120 <= h and h < 180 ) then g = g + c b = b + x elseif( 180 <= h and h < 240 ) then g = g + x b = b + c elseif( 240 <= h and h < 300 ) then r = r + x b = b + c elseif( 300 <= h and h < 360 ) then r = r + c b = b + x end return rgbdec2lum(255*r, 255*g, 255*b) else return '' end end local function color2lum(c) if (c == nil) then return '' end -- html '#' entity c = c:gsub("&#35;", "#") -- whitespace c = c:match( '^%s*(.-)[%s;]*$' ) -- unstrip nowiki strip markers c = mw.text.unstripNoWiki(c) -- lowercase c = c:lower() -- first try to look it up local L = HTMLcolor[c] if (L ~= nil) then return L end -- convert from hsl if mw.ustring.match(c,'^hsl%([%s]*[0-9][0-9%.]*[%s]*,[%s]*[0-9][0-9%.]*%%[%s]*,[%s]*[0-9][0-9%.]*%%[%s]*%)$') then local h, s, l = mw.ustring.match(c,'^hsl%([%s]*([0-9][0-9%.]*)[%s]*,[%s]*([0-9][0-9%.]*)%%[%s]*,[%s]*([0-9][0-9%.]*)%%[%s]*%)$') return hsl2lum(tonumber(h), tonumber(s)/100, tonumber(l)/100) end -- convert from rgb if mw.ustring.match(c,'^rgb%([%s]*[0-9][0-9]*[%s]*,[%s]*[0-9][0-9]*[%s]*,[%s]*[0-9][0-9]*[%s]*%)$') then local R, G, B = mw.ustring.match(c,'^rgb%([%s]*([0-9][0-9]*)[%s]*,[%s]*([0-9][0-9]*)[%s]*,[%s]*([0-9][0-9]*)[%s]*%)$') return rgbdec2lum(tonumber(R), tonumber(G), tonumber(B)) end -- convert from rgb percent if mw.ustring.match(c,'^rgb%([%s]*[0-9][0-9%.]*%%[%s]*,[%s]*[0-9][0-9%.]*%%[%s]*,[%s]*[0-9][0-9%.]*%%[%s]*%)$') then local R, G, B = mw.ustring.match(c,'^rgb%([%s]*([0-9][0-9%.]*)%%[%s]*,[%s]*([0-9][0-9%.]*)%%[%s]*,[%s]*([0-9][0-9%.]*)%%[%s]*%)$') return rgbdec2lum(255*tonumber(R)/100, 255*tonumber(G)/100, 255*tonumber(B)/100) end -- remove leading # (if there is one) and whitespace c = mw.ustring.match(c, '^[%s#]*([a-f0-9]*)[%s]*$') -- split into rgb local cs = mw.text.split(c or '', '') if( #cs == 6 ) then local R = 16*tonumber('0x' .. cs[1]) + tonumber('0x' .. cs[2]) local G = 16*tonumber('0x' .. cs[3]) + tonumber('0x' .. cs[4]) local B = 16*tonumber('0x' .. cs[5]) + tonumber('0x' .. cs[6]) return rgbdec2lum(R, G, B) elseif ( #cs == 3 ) then local R = 16*tonumber('0x' .. cs[1]) + tonumber('0x' .. cs[1]) local G = 16*tonumber('0x' .. cs[2]) + tonumber('0x' .. cs[2]) local B = 16*tonumber('0x' .. cs[3]) + tonumber('0x' .. cs[3]) return rgbdec2lum(R, G, B) end -- failure, return blank return '' end -- This exports the function for use in other modules. -- The colour is passed as a string. function p._lum(color) return color2lum(color) end function p._greatercontrast(args) local bias = tonumber(args['bias'] or '0') or 0 local css = (args['css'] and args['css'] ~= '') and true or false local v1 = color2lum(args[1] or '') local c2 = args[2] or '#FFFFFF' local v2 = color2lum(c2) local c3 = args[3] or '#000000' local v3 = color2lum(c3) local ratio1 = -1; local ratio2 = -1; if (type(v1) == 'number' and type(v2) == 'number') then ratio1 = (v2 + 0.05)/(v1 + 0.05) ratio1 = (ratio1 < 1) and 1/ratio1 or ratio1 end if (type(v1) == 'number' and type(v3) == 'number') then ratio2 = (v3 + 0.05)/(v1 + 0.05) ratio2 = (ratio2 < 1) and 1/ratio2 or ratio2 end if css then local c1 = args[1] or '' if mw.ustring.match(c1, '^[A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9]$') or mw.ustring.match(c1, '^[A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9]$') then c1 = '#' .. c1 end if mw.ustring.match(c2, '^[A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9]$') or mw.ustring.match(c2, '^[A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9]$') then c2 = '#' .. c2 end if mw.ustring.match(v3, '^[A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9]$') or mw.ustring.match(v3, '^[A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9]$') then c3 = '#' .. c3 end return 'background-color:' .. c1 .. '; color:' .. ((ratio1 > 0) and (ratio2 > 0) and ((ratio1 + bias > ratio2) and c2 or c3) or '') .. ';' end return (ratio1 > 0) and (ratio2 > 0) and ((ratio1 + bias > ratio2) and c2 or c3) or '' end function p._ratio(args) local v1 = color2lum(args[1]) local v2 = color2lum(args[2]) if (type(v1) == 'number' and type(v2) == 'number') then -- v1 should be the brighter of the two. if v2 > v1 then v1, v2 = v2, v1 end return (v1 + 0.05)/(v2 + 0.05) else return args['error'] or '?' end end function p._styleratio(args) local style = (args[1] or ''):lower() local bg, fg = 'white', 'black' local lum_bg, lum_fg = 1, 0 if args[2] then local lum = color2lum(args[2]) if lum ~= '' then bg, lum_bg = args[2], lum end end if args[3] then local lum = color2lum(args[3]) if lum ~= '' then fg, lum_fg = args[3], lum end end local slist = mw.text.split(mw.ustring.gsub(mw.ustring.gsub(style or '', '&#[Xx]23;', '#'), '&#35;', '#'), ';') for k = 1,#slist do local s = slist[k] local k,v = s:match( '^[%s]*([^:]-):([^:]-)[%s;]*$' ) k = k or '' v = v or '' if (k:match('^[%s]*(background)[%s]*$') or k:match('^[%s]*(background%-color)[%s]*$')) then local lum = color2lum(v) if( lum ~= '' ) then bg, lum_bg = v, lum end elseif (k:match('^[%s]*(color)[%s]*$')) then local lum = color2lum(v) if( lum ~= '' ) then bg, lum_fg = v, lum end end end if lum_bg > lum_fg then return (lum_bg + 0.05)/(lum_fg + 0.05) else return (lum_fg + 0.05)/(lum_bg + 0.05) end end --[[ Use {{#invoke:Color contrast|somecolor}} directly or {{#invoke:Color contrast}} from a wrapper template. Parameters: -- |1= — required; A color to check. --]] function p.lum(frame) local color = frame.args[1] or frame:getParent().args[1] return p._lum(color) end function p.ratio(frame) local args = frame.args[1] and frame.args or frame:getParent().args return p._ratio(args) end function p.styleratio(frame) local args = frame.args[1] and frame.args or frame:getParent().args return p._styleratio(args) end function p.greatercontrast(frame) local args = frame.args[1] and frame.args or frame:getParent().args return p._greatercontrast(args) end return p 1e399769117591366a63f62996c9a407077cc711 828 144 1012 2019-01-24T12:30:11Z wikipedia>Galobtter 0 Changed protection level for "[[Module:Color contrast/colors]]": [[WP:High-risk templates|High-risk Lua module]] ([Edit=Require template editor access] (indefinite) [Move=Require template editor access] (indefinite)) Scribunto text/plain return { aliceblue = 0.92880068253475, antiquewhite = 0.84646951707754, aqua = 0.7874, aquamarine = 0.8078549208338, azure = 0.97265264954166, beige = 0.8988459998705, bisque = 0.80732327372979, black = 0, blanchedalmond = 0.85084439608156, blue = 0.0722, blueviolet = 0.12622014321946, brown = 0.098224287876511, burlywood = 0.51559844533893, cadetblue = 0.29424681085422, chartreuse = 0.76032025902623, chocolate = 0.23898526114557, coral = 0.37017930872924, cornflowerblue = 0.30318641994179, cornsilk = 0.93562110372965, crimson = 0.16042199953026, cyan = 0.7874, darkblue = 0.018640801980939, darkcyan = 0.20329317839046, darkgoldenrod = 0.27264703559993, darkgray = 0.39675523072563, darkgreen = 0.091143429047575, darkgrey = 0.39675523072563, darkkhaki = 0.45747326349994, darkmagenta = 0.07353047651207, darkolivegreen = 0.12651920884889, darkorange = 0.40016167026524, darkorchid = 0.13413142174857, darkred = 0.054889674531132, darksalmon = 0.40541471563381, darkseagreen = 0.43789249325969, darkslateblue = 0.065792846227988, darkslategray = 0.067608151928044, darkslategrey = 0.067608151928044, darkturquoise = 0.4874606277449, darkviolet = 0.10999048339343, deeppink = 0.23866895828276, deepskyblue = 0.44481603395575, dimgray = 0.14126329114027, dimgrey = 0.14126329114027, dodgerblue = 0.27442536991456, firebrick = 0.10724525535015, floralwhite = 0.95922484825004, forestgreen = 0.18920812076002, fuchsia = 0.2848, gainsboro = 0.71569350050648, ghostwhite = 0.94311261886323, gold = 0.69860877428159, goldenrod = 0.41919977809569, gray = 0.2158605001139, green = 0.15438342968146, greenyellow = 0.80609472611453, grey = 0.2158605001139, honeydew = 0.96336535554782, hotpink = 0.34658438169715, indianred = 0.21406134963884, indigo = 0.03107561486337, ivory = 0.99071270600615, khaki = 0.77012343394121, lavender = 0.80318750514521, lavenderblush = 0.90172748631046, lawngreen = 0.73905893124963, lemonchiffon = 0.94038992245622, lightblue = 0.63709141280807, lightcoral = 0.35522120733135, lightcyan = 0.94587293494829, lightgoldenrodyellow = 0.93348351018297, lightgray = 0.65140563741982, lightgreen = 0.69091979956865, lightgrey = 0.65140563741982, lightpink = 0.58566152734898, lightsalmon = 0.4780675225206, lightseagreen = 0.35050145117042, lightskyblue = 0.56195637618331, lightslategray = 0.23830165007287, lightslategrey = 0.23830165007287, lightsteelblue = 0.53983888284666, lightyellow = 0.98161818392882, lime = 0.7152, limegreen = 0.44571042246098, linen = 0.88357340984379, magenta = 0.2848, maroon = 0.045891942324215, mediumaquamarine = 0.49389703310801, mediumblue = 0.044077780212328, mediumorchid = 0.21639251153773, mediumpurple = 0.22905858091648, mediumseagreen = 0.34393112338131, mediumslateblue = 0.20284629471622, mediumspringgreen = 0.70704308194184, mediumturquoise = 0.5133827926448, mediumvioletred = 0.14371899849357, midnightblue = 0.02071786635086, mintcream = 0.97834604947588, mistyrose = 0.82183047859185, moccasin = 0.80083000991567, navajowhite = 0.76519682342785, navy = 0.015585128108224, oldlace = 0.91900633405549, olive = 0.20027537200568, olivedrab = 0.22593150951929, orange = 0.4817026703631, orangered = 0.25516243753416, orchid = 0.31348806761439, palegoldenrod = 0.78792647887614, palegreen = 0.77936759006353, paleturquoise = 0.76436077921714, palevioletred = 0.28754994117889, papayawhip = 0.87797100199835, peachpuff = 0.74905589878251, peru = 0.30113074877936, pink = 0.63271070702466, plum = 0.45734221587969, powderblue = 0.68254586500605, purple = 0.061477070432439, rebeccapurple = 0.07492341159447, red = 0.2126, rosybrown = 0.32319457649407, royalblue = 0.16663210743188, saddlebrown = 0.097922285020521, salmon = 0.36977241527596, sandybrown = 0.46628543696283, seagreen = 0.19734199706275, seashell = 0.92737862206922, sienna = 0.13697631337098, silver = 0.52711512570581, skyblue = 0.55291668518184, slateblue = 0.14784278062136, slategray = 0.20896704076536, slategrey = 0.20896704076536, snow = 0.96533341834849, springgreen = 0.73052306068529, steelblue = 0.20562642207625, tan = 0.48237604163921, teal = 0.16996855778968, thistle = 0.56818401093733, tomato = 0.30638612719415, turquoise = 0.5895536427578, violet = 0.40315452986676, wheat = 0.74909702820482, white = 1, whitesmoke = 0.91309865179342, yellow = 0.9278, yellowgreen = 0.50762957208707, } 6ae47fdb24de4eed5ec26d203faf5341a388987b 10 174 1060 2019-04-24T04:30:59Z wikipedia>JJMC89 0 actual template is in the category wikitext text/x-wiki #REDIRECT [[Template:Category link with count]] 02280e2ab57b544236e11f913e3759c5781ca9d5 828 92 908 2020-04-01T06:12:40Z wikipedia>MusikAnimal 0 1 revision imported Scribunto text/plain -- This module provides easy processing of arguments passed to Scribunto from -- #invoke. It is intended for use by other Lua modules, and should not be -- called from #invoke directly. local libraryUtil = require('libraryUtil') local checkType = libraryUtil.checkType local arguments = {} -- Generate four different tidyVal functions, so that we don't have to check the -- options every time we call it. local function tidyValDefault(key, val) if type(val) == 'string' then val = val:match('^%s*(.-)%s*$') if val == '' then return nil else return val end else return val end end local function tidyValTrimOnly(key, val) if type(val) == 'string' then return val:match('^%s*(.-)%s*$') else return val end end local function tidyValRemoveBlanksOnly(key, val) if type(val) == 'string' then if val:find('%S') then return val else return nil end else return val end end local function tidyValNoChange(key, val) return val end local function matchesTitle(given, title) local tp = type( given ) return (tp == 'string' or tp == 'number') and mw.title.new( given ).prefixedText == title end local translate_mt = { __index = function(t, k) return k end } function arguments.getArgs(frame, options) checkType('getArgs', 1, frame, 'table', true) checkType('getArgs', 2, options, 'table', true) frame = frame or {} options = options or {} --[[ -- Set up argument translation. --]] options.translate = options.translate or {} if getmetatable(options.translate) == nil then setmetatable(options.translate, translate_mt) end if options.backtranslate == nil then options.backtranslate = {} for k,v in pairs(options.translate) do options.backtranslate[v] = k end end if options.backtranslate and getmetatable(options.backtranslate) == nil then setmetatable(options.backtranslate, { __index = function(t, k) if options.translate[k] ~= k then return nil else return k end end }) end --[[ -- Get the argument tables. If we were passed a valid frame object, get the -- frame arguments (fargs) and the parent frame arguments (pargs), depending -- on the options set and on the parent frame's availability. If we weren't -- passed a valid frame object, we are being called from another Lua module -- or from the debug console, so assume that we were passed a table of args -- directly, and assign it to a new variable (luaArgs). --]] local fargs, pargs, luaArgs if type(frame.args) == 'table' and type(frame.getParent) == 'function' then if options.wrappers then --[[ -- The wrappers option makes Module:Arguments look up arguments in -- either the frame argument table or the parent argument table, but -- not both. This means that users can use either the #invoke syntax -- or a wrapper template without the loss of performance associated -- with looking arguments up in both the frame and the parent frame. -- Module:Arguments will look up arguments in the parent frame -- if it finds the parent frame's title in options.wrapper; -- otherwise it will look up arguments in the frame object passed -- to getArgs. --]] local parent = frame:getParent() if not parent then fargs = frame.args else local title = parent:getTitle():gsub('/sandbox$', '') local found = false if matchesTitle(options.wrappers, title) then found = true elseif type(options.wrappers) == 'table' then for _,v in pairs(options.wrappers) do if matchesTitle(v, title) then found = true break end end end -- We test for false specifically here so that nil (the default) acts like true. if found or options.frameOnly == false then pargs = parent.args end if not found or options.parentOnly == false then fargs = frame.args end end else -- options.wrapper isn't set, so check the other options. if not options.parentOnly then fargs = frame.args end if not options.frameOnly then local parent = frame:getParent() pargs = parent and parent.args or nil end end if options.parentFirst then fargs, pargs = pargs, fargs end else luaArgs = frame end -- Set the order of precedence of the argument tables. If the variables are -- nil, nothing will be added to the table, which is how we avoid clashes -- between the frame/parent args and the Lua args. local argTables = {fargs} argTables[#argTables + 1] = pargs argTables[#argTables + 1] = luaArgs --[[ -- Generate the tidyVal function. If it has been specified by the user, we -- use that; if not, we choose one of four functions depending on the -- options chosen. This is so that we don't have to call the options table -- every time the function is called. --]] local tidyVal = options.valueFunc if tidyVal then if type(tidyVal) ~= 'function' then error( "bad value assigned to option 'valueFunc'" .. '(function expected, got ' .. type(tidyVal) .. ')', 2 ) end elseif options.trim ~= false then if options.removeBlanks ~= false then tidyVal = tidyValDefault else tidyVal = tidyValTrimOnly end else if options.removeBlanks ~= false then tidyVal = tidyValRemoveBlanksOnly else tidyVal = tidyValNoChange end end --[[ -- Set up the args, metaArgs and nilArgs tables. args will be the one -- accessed from functions, and metaArgs will hold the actual arguments. Nil -- arguments are memoized in nilArgs, and the metatable connects all of them -- together. --]] local args, metaArgs, nilArgs, metatable = {}, {}, {}, {} setmetatable(args, metatable) local function mergeArgs(tables) --[[ -- Accepts multiple tables as input and merges their keys and values -- into one table. If a value is already present it is not overwritten; -- tables listed earlier have precedence. We are also memoizing nil -- values, which can be overwritten if they are 's' (soft). --]] for _, t in ipairs(tables) do for key, val in pairs(t) do if metaArgs[key] == nil and nilArgs[key] ~= 'h' then local tidiedVal = tidyVal(key, val) if tidiedVal == nil then nilArgs[key] = 's' else metaArgs[key] = tidiedVal end end end end end --[[ -- Define metatable behaviour. Arguments are memoized in the metaArgs table, -- and are only fetched from the argument tables once. Fetching arguments -- from the argument tables is the most resource-intensive step in this -- module, so we try and avoid it where possible. For this reason, nil -- arguments are also memoized, in the nilArgs table. Also, we keep a record -- in the metatable of when pairs and ipairs have been called, so we do not -- run pairs and ipairs on the argument tables more than once. We also do -- not run ipairs on fargs and pargs if pairs has already been run, as all -- the arguments will already have been copied over. --]] metatable.__index = function (t, key) --[[ -- Fetches an argument when the args table is indexed. First we check -- to see if the value is memoized, and if not we try and fetch it from -- the argument tables. When we check memoization, we need to check -- metaArgs before nilArgs, as both can be non-nil at the same time. -- If the argument is not present in metaArgs, we also check whether -- pairs has been run yet. If pairs has already been run, we return nil. -- This is because all the arguments will have already been copied into -- metaArgs by the mergeArgs function, meaning that any other arguments -- must be nil. --]] if type(key) == 'string' then key = options.translate[key] end local val = metaArgs[key] if val ~= nil then return val elseif metatable.donePairs or nilArgs[key] then return nil end for _, argTable in ipairs(argTables) do local argTableVal = tidyVal(key, argTable[key]) if argTableVal ~= nil then metaArgs[key] = argTableVal return argTableVal end end nilArgs[key] = 'h' return nil end metatable.__newindex = function (t, key, val) -- This function is called when a module tries to add a new value to the -- args table, or tries to change an existing value. if type(key) == 'string' then key = options.translate[key] end if options.readOnly then error( 'could not write to argument table key "' .. tostring(key) .. '"; the table is read-only', 2 ) elseif options.noOverwrite and args[key] ~= nil then error( 'could not write to argument table key "' .. tostring(key) .. '"; overwriting existing arguments is not permitted', 2 ) elseif val == nil then --[[ -- If the argument is to be overwritten with nil, we need to erase -- the value in metaArgs, so that __index, __pairs and __ipairs do -- not use a previous existing value, if present; and we also need -- to memoize the nil in nilArgs, so that the value isn't looked -- up in the argument tables if it is accessed again. --]] metaArgs[key] = nil nilArgs[key] = 'h' else metaArgs[key] = val end end local function translatenext(invariant) local k, v = next(invariant.t, invariant.k) invariant.k = k if k == nil then return nil elseif type(k) ~= 'string' or not options.backtranslate then return k, v else local backtranslate = options.backtranslate[k] if backtranslate == nil then -- Skip this one. This is a tail call, so this won't cause stack overflow return translatenext(invariant) else return backtranslate, v end end end metatable.__pairs = function () -- Called when pairs is run on the args table. if not metatable.donePairs then mergeArgs(argTables) metatable.donePairs = true end return translatenext, { t = metaArgs } end local function inext(t, i) -- This uses our __index metamethod local v = t[i + 1] if v ~= nil then return i + 1, v end end metatable.__ipairs = function (t) -- Called when ipairs is run on the args table. return inext, t, 0 end return args end return arguments 3134ecce8429b810d445e29eae115e2ae4c36c53 828 109 942 2020-04-01T06:12:40Z wikipedia>MusikAnimal 0 1 revision imported Scribunto text/plain -------------------------------------------------------------------------------- -- -- -- CATEGORY HANDLER -- -- -- -- This module implements the {{category handler}} template in Lua, -- -- with a few improvements: all namespaces and all namespace aliases -- -- are supported, and namespace names are detected automatically for -- -- the local wiki. This module requires [[Module:Namespace detect]] -- -- and [[Module:Yesno]] to be available on the local wiki. It can be -- -- configured for different wikis by altering the values in -- -- [[Module:Category handler/config]], and pages can be blacklisted -- -- from categorisation by using [[Module:Category handler/blacklist]]. -- -- -- -------------------------------------------------------------------------------- -- Load required modules local yesno = require('Module:Yesno') -- Lazily load things we don't always need local mShared, mappings local p = {} -------------------------------------------------------------------------------- -- Helper functions -------------------------------------------------------------------------------- local function trimWhitespace(s, removeBlanks) if type(s) ~= 'string' then return s end s = s:match('^%s*(.-)%s*$') if removeBlanks then if s ~= '' then return s else return nil end else return s end end -------------------------------------------------------------------------------- -- CategoryHandler class -------------------------------------------------------------------------------- local CategoryHandler = {} CategoryHandler.__index = CategoryHandler function CategoryHandler.new(data, args) local obj = setmetatable({ _data = data, _args = args }, CategoryHandler) -- Set the title object do local pagename = obj:parameter('demopage') local success, titleObj if pagename then success, titleObj = pcall(mw.title.new, pagename) end if success and titleObj then obj.title = titleObj if titleObj == mw.title.getCurrentTitle() then obj._usesCurrentTitle = true end else obj.title = mw.title.getCurrentTitle() obj._usesCurrentTitle = true end end -- Set suppression parameter values for _, key in ipairs{'nocat', 'categories'} do local value = obj:parameter(key) value = trimWhitespace(value, true) obj['_' .. key] = yesno(value) end do local subpage = obj:parameter('subpage') local category2 = obj:parameter('category2') if type(subpage) == 'string' then subpage = mw.ustring.lower(subpage) end if type(category2) == 'string' then subpage = mw.ustring.lower(category2) end obj._subpage = trimWhitespace(subpage, true) obj._category2 = trimWhitespace(category2) -- don't remove blank values end return obj end function CategoryHandler:parameter(key) local parameterNames = self._data.parameters[key] local pntype = type(parameterNames) if pntype == 'string' or pntype == 'number' then return self._args[parameterNames] elseif pntype == 'table' then for _, name in ipairs(parameterNames) do local value = self._args[name] if value ~= nil then return value end end return nil else error(string.format( 'invalid config key "%s"', tostring(key) ), 2) end end function CategoryHandler:isSuppressedByArguments() return -- See if a category suppression argument has been set. self._nocat == true or self._categories == false or ( self._category2 and self._category2 ~= self._data.category2Yes and self._category2 ~= self._data.category2Negative ) -- Check whether we are on a subpage, and see if categories are -- suppressed based on our subpage status. or self._subpage == self._data.subpageNo and self.title.isSubpage or self._subpage == self._data.subpageOnly and not self.title.isSubpage end function CategoryHandler:shouldSkipBlacklistCheck() -- Check whether the category suppression arguments indicate we -- should skip the blacklist check. return self._nocat == false or self._categories == true or self._category2 == self._data.category2Yes end function CategoryHandler:matchesBlacklist() if self._usesCurrentTitle then return self._data.currentTitleMatchesBlacklist else mShared = mShared or require('Module:Category handler/shared') return mShared.matchesBlacklist( self.title.prefixedText, mw.loadData('Module:Category handler/blacklist') ) end end function CategoryHandler:isSuppressed() -- Find if categories are suppressed by either the arguments or by -- matching the blacklist. return self:isSuppressedByArguments() or not self:shouldSkipBlacklistCheck() and self:matchesBlacklist() end function CategoryHandler:getNamespaceParameters() if self._usesCurrentTitle then return self._data.currentTitleNamespaceParameters else if not mappings then mShared = mShared or require('Module:Category handler/shared') mappings = mShared.getParamMappings(true) -- gets mappings with mw.loadData end return mShared.getNamespaceParameters( self.title, mappings ) end end function CategoryHandler:namespaceParametersExist() -- Find whether any namespace parameters have been specified. -- We use the order "all" --> namespace params --> "other" as this is what -- the old template did. if self:parameter('all') then return true end if not mappings then mShared = mShared or require('Module:Category handler/shared') mappings = mShared.getParamMappings(true) -- gets mappings with mw.loadData end for ns, params in pairs(mappings) do for i, param in ipairs(params) do if self._args[param] then return true end end end if self:parameter('other') then return true end return false end function CategoryHandler:getCategories() local params = self:getNamespaceParameters() local nsCategory for i, param in ipairs(params) do local value = self._args[param] if value ~= nil then nsCategory = value break end end if nsCategory ~= nil or self:namespaceParametersExist() then -- Namespace parameters exist - advanced usage. if nsCategory == nil then nsCategory = self:parameter('other') end local ret = {self:parameter('all')} local numParam = tonumber(nsCategory) if numParam and numParam >= 1 and math.floor(numParam) == numParam then -- nsCategory is an integer ret[#ret + 1] = self._args[numParam] else ret[#ret + 1] = nsCategory end if #ret < 1 then return nil else return table.concat(ret) end elseif self._data.defaultNamespaces[self.title.namespace] then -- Namespace parameters don't exist, simple usage. return self._args[1] end return nil end -------------------------------------------------------------------------------- -- Exports -------------------------------------------------------------------------------- local p = {} function p._exportClasses() -- Used for testing purposes. return { CategoryHandler = CategoryHandler } end function p._main(args, data) data = data or mw.loadData('Module:Category handler/data') local handler = CategoryHandler.new(data, args) if handler:isSuppressed() then return nil end return handler:getCategories() end function p.main(frame, data) data = data or mw.loadData('Module:Category handler/data') local args = require('Module:Arguments').getArgs(frame, { wrappers = data.wrappers, valueFunc = function (k, v) v = trimWhitespace(v) if type(k) == 'number' then if v ~= '' then return v else return nil end else return v end end }) return p._main(args, data) end return p b74dd63857b24904ac452429b11213f18647471f 828 111 946 2020-04-01T06:12:40Z wikipedia>MusikAnimal 0 1 revision imported Scribunto text/plain -------------------------------------------------------------------------------- -- [[Module:Category handler]] configuration data -- -- Language-specific parameter names and values can be set here. -- -- For blacklist config, see [[Module:Category handler/blacklist]]. -- -------------------------------------------------------------------------------- local cfg = {} -- Don't edit this line. -------------------------------------------------------------------------------- -- Start configuration data -- -------------------------------------------------------------------------------- -------------------------------------------------------------------------------- -- Parameter names -- -- These configuration items specify custom parameter names. -- -- To add one extra name, you can use this format: -- -- -- -- foo = 'parameter name', -- -- -- -- To add multiple names, you can use this format: -- -- -- -- foo = {'parameter name 1', 'parameter name 2', 'parameter name 3'}, -- -------------------------------------------------------------------------------- cfg.parameters = { -- The nocat and categories parameter suppress -- categorisation. They are used with Module:Yesno, and work as follows: -- -- cfg.nocat: -- Result of yesno() Effect -- true Categorisation is suppressed -- false Categorisation is allowed, and -- the blacklist check is skipped -- nil Categorisation is allowed -- -- cfg.categories: -- Result of yesno() Effect -- true Categorisation is allowed, and -- the blacklist check is skipped -- false Categorisation is suppressed -- nil Categorisation is allowed nocat = 'nocat', categories = 'categories', -- The parameter name for the legacy "category2" parameter. This skips the -- blacklist if set to the cfg.category2Yes value, and suppresses -- categorisation if present but equal to anything other than -- cfg.category2Yes or cfg.category2Negative. category2 = 'category2', -- cfg.subpage is the parameter name to specify how to behave on subpages. subpage = 'subpage', -- The parameter for data to return in all namespaces. all = 'all', -- The parameter name for data to return if no data is specified for the -- namespace that is detected. other = 'other', -- The parameter name used to specify a page other than the current page; -- used for testing and demonstration. demopage = 'page', } -------------------------------------------------------------------------------- -- Parameter values -- -- These are set values that can be used with certain parameters. Only one -- -- value can be specified, like this: -- -- -- -- cfg.foo = 'value name' -- -- -------------------------------------------------------------------------------- -- The following settings are used with the cfg.category2 parameter. Setting -- cfg.category2 to cfg.category2Yes skips the blacklist, and if cfg.category2 -- is present but equal to anything other than cfg.category2Yes or -- cfg.category2Negative then it supresses cateogrisation. cfg.category2Yes = 'yes' cfg.category2Negative = '¬' -- The following settings are used with the cfg.subpage parameter. -- cfg.subpageNo is the value to specify to not categorise on subpages; -- cfg.subpageOnly is the value to specify to only categorise on subpages. cfg.subpageNo = 'no' cfg.subpageOnly = 'only' -------------------------------------------------------------------------------- -- Default namespaces -- -- This is a table of namespaces to categorise by default. The keys are the -- -- namespace numbers. -- -------------------------------------------------------------------------------- cfg.defaultNamespaces = { [ 0] = true, -- main [ 6] = true, -- file [ 12] = true, -- help [ 14] = true, -- category [100] = true, -- portal [108] = true, -- book } -------------------------------------------------------------------------------- -- Wrappers -- -- This is a wrapper template or a list of wrapper templates to be passed to -- -- [[Module:Arguments]]. -- -------------------------------------------------------------------------------- cfg.wrappers = 'Template:Category handler' -------------------------------------------------------------------------------- -- End configuration data -- -------------------------------------------------------------------------------- return cfg -- Don't edit this line. 373cd107b13a5b00e6a1b7e66a749f12502c849d 828 110 944 2020-04-01T06:12:41Z wikipedia>MusikAnimal 0 1 revision imported Scribunto text/plain -- This module assembles data to be passed to [[Module:Category handler]] using -- mw.loadData. This includes the configuration data and whether the current -- page matches the title blacklist. local data = require('Module:Category handler/config') local mShared = require('Module:Category handler/shared') local blacklist = require('Module:Category handler/blacklist') local title = mw.title.getCurrentTitle() data.currentTitleMatchesBlacklist = mShared.matchesBlacklist( title.prefixedText, blacklist ) data.currentTitleNamespaceParameters = mShared.getNamespaceParameters( title, mShared.getParamMappings() ) return data abbc68048ff698e88dda06b64ecf384bbf583120 828 112 948 2020-04-01T06:12:41Z wikipedia>MusikAnimal 0 1 revision imported Scribunto text/plain -- This module contains shared functions used by [[Module:Category handler]] -- and its submodules. local p = {} function p.matchesBlacklist(page, blacklist) for i, pattern in ipairs(blacklist) do local match = mw.ustring.match(page, pattern) if match then return true end end return false end function p.getParamMappings(useLoadData) local dataPage = 'Module:Namespace detect/data' if useLoadData then return mw.loadData(dataPage).mappings else return require(dataPage).mappings end end function p.getNamespaceParameters(titleObj, mappings) -- We don't use title.nsText for the namespace name because it adds -- underscores. local mappingsKey if titleObj.isTalkPage then mappingsKey = 'talk' else mappingsKey = mw.site.namespaces[titleObj.namespace].name end mappingsKey = mw.ustring.lower(mappingsKey) return mappings[mappingsKey] or {} end return p d2d5de1a031e6ce97c242cbfa8afe7a92cb9eca5 828 102 928 2020-04-01T06:12:44Z wikipedia>MusikAnimal 0 1 revision imported Scribunto text/plain -------------------------------------------------------------------------------- -- Namespace detect configuration data -- -- -- -- This module stores configuration data for Module:Namespace detect. Here -- -- you can localise the module to your wiki's language. -- -- -- -- To activate a configuration item, you need to uncomment it. This means -- -- that you need to remove the text "-- " at the start of the line. -- -------------------------------------------------------------------------------- local cfg = {} -- Don't edit this line. -------------------------------------------------------------------------------- -- Parameter names -- -- These configuration items specify custom parameter names. Values added -- -- here will work in addition to the default English parameter names. -- -- To add one extra name, you can use this format: -- -- -- -- cfg.foo = 'parameter name' -- -- -- -- To add multiple names, you can use this format: -- -- -- -- cfg.foo = {'parameter name 1', 'parameter name 2', 'parameter name 3'} -- -------------------------------------------------------------------------------- ---- This parameter displays content for the main namespace: -- cfg.main = 'main' ---- This parameter displays in talk namespaces: -- cfg.talk = 'talk' ---- This parameter displays content for "other" namespaces (namespaces for which ---- parameters have not been specified): -- cfg.other = 'other' ---- This parameter makes talk pages behave as though they are the corresponding ---- subject namespace. Note that this parameter is used with [[Module:Yesno]]. ---- Edit that module to change the default values of "yes", "no", etc. -- cfg.subjectns = 'subjectns' ---- This parameter sets a demonstration namespace: -- cfg.demospace = 'demospace' ---- This parameter sets a specific page to compare: cfg.demopage = 'page' -------------------------------------------------------------------------------- -- Table configuration -- -- These configuration items allow customisation of the "table" function, -- -- used to generate a table of possible parameters in the module -- -- documentation. -- -------------------------------------------------------------------------------- ---- The header for the namespace column in the wikitable containing the list of ---- possible subject-space parameters. -- cfg.wikitableNamespaceHeader = 'Namespace' ---- The header for the wikitable containing the list of possible subject-space ---- parameters. -- cfg.wikitableAliasesHeader = 'Aliases' -------------------------------------------------------------------------------- -- End of configuration data -- -------------------------------------------------------------------------------- return cfg -- Don't edit this line. 0e4ff08d13c4b664d66b32c232deb129b77c1a56 828 101 926 2020-04-01T06:12:45Z wikipedia>MusikAnimal 0 1 revision imported Scribunto text/plain -------------------------------------------------------------------------------- -- Namespace detect data -- -- This module holds data for [[Module:Namespace detect]] to be loaded per -- -- page, rather than per #invoke, for performance reasons. -- -------------------------------------------------------------------------------- local cfg = require('Module:Namespace detect/config') local function addKey(t, key, defaultKey) if key ~= defaultKey then t[#t + 1] = key end end -- Get a table of parameters to query for each default parameter name. -- This allows wikis to customise parameter names in the cfg table while -- ensuring that default parameter names will always work. The cfg table -- values can be added as a string, or as an array of strings. local defaultKeys = { 'main', 'talk', 'other', 'subjectns', 'demospace', 'demopage' } local argKeys = {} for i, defaultKey in ipairs(defaultKeys) do argKeys[defaultKey] = {defaultKey} end for defaultKey, t in pairs(argKeys) do local cfgValue = cfg[defaultKey] local cfgValueType = type(cfgValue) if cfgValueType == 'string' then addKey(t, cfgValue, defaultKey) elseif cfgValueType == 'table' then for i, key in ipairs(cfgValue) do addKey(t, key, defaultKey) end end cfg[defaultKey] = nil -- Free the cfg value as we don't need it any more. end local function getParamMappings() --[[ -- Returns a table of how parameter names map to namespace names. The keys -- are the actual namespace names, in lower case, and the values are the -- possible parameter names for that namespace, also in lower case. The -- table entries are structured like this: -- { -- [''] = {'main'}, -- ['wikipedia'] = {'wikipedia', 'project', 'wp'}, -- ... -- } --]] local mappings = {} local mainNsName = mw.site.subjectNamespaces[0].name mainNsName = mw.ustring.lower(mainNsName) mappings[mainNsName] = mw.clone(argKeys.main) mappings['talk'] = mw.clone(argKeys.talk) for nsid, ns in pairs(mw.site.subjectNamespaces) do if nsid ~= 0 then -- Exclude main namespace. local nsname = mw.ustring.lower(ns.name) local canonicalName = mw.ustring.lower(ns.canonicalName) mappings[nsname] = {nsname} if canonicalName ~= nsname then table.insert(mappings[nsname], canonicalName) end for _, alias in ipairs(ns.aliases) do table.insert(mappings[nsname], mw.ustring.lower(alias)) end end end return mappings end return { argKeys = argKeys, cfg = cfg, mappings = getParamMappings() } d224f42a258bc308ef3ad8cc8686cd7a4f47d005 828 91 906 2020-04-01T06:27:55Z wikipedia>MusikAnimal 0 Undid revision 948472533 by [[Special:Contributions/w>Vogone|w>Vogone]] ([[User talk:w>Vogone|talk]]) Scribunto text/plain -- Function allowing for consistent treatment of boolean-like wikitext input. -- It works similarly to the template {{yesno}}. return function (val, default) -- If your wiki uses non-ascii characters for any of "yes", "no", etc., you -- should replace "val:lower()" with "mw.ustring.lower(val)" in the -- following line. val = type(val) == 'string' and val:lower() or val if val == nil then return nil elseif val == true or val == 'yes' or val == 'y' or val == 'true' or val == 't' or val == 'on' or tonumber(val) == 1 then return true elseif val == false or val == 'no' or val == 'n' or val == 'false' or val == 'f' or val == 'off' or tonumber(val) == 0 then return false else return default end end f767643e7d12126d020d88d662a3dd057817b9dc 828 125 974 2020-04-01T06:31:54Z wikipedia>MusikAnimal 0 Undid revision 948472508 by [[Special:Contributions/w>IPad365|w>IPad365]] ([[User talk:w>IPad365|talk]]) Scribunto text/plain -- This module provides a library for formatting file wikilinks. local yesno = require('Module:Yesno') local checkType = require('libraryUtil').checkType local p = {} function p._main(args) checkType('_main', 1, args, 'table') -- This is basically libraryUtil.checkTypeForNamedArg, but we are rolling our -- own function to get the right error level. local function checkArg(key, val, level) if type(val) ~= 'string' then error(string.format( "type error in '%s' parameter of '_main' (expected string, got %s)", key, type(val) ), level) end end local ret = {} -- Adds a positional parameter to the buffer. local function addPositional(key) local val = args[key] if not val then return nil end checkArg(key, val, 4) ret[#ret + 1] = val end -- Adds a named parameter to the buffer. We assume that the parameter name -- is the same as the argument key. local function addNamed(key) local val = args[key] if not val then return nil end checkArg(key, val, 4) ret[#ret + 1] = key .. '=' .. val end -- Filename checkArg('file', args.file, 3) ret[#ret + 1] = 'File:' .. args.file -- Format if args.format then checkArg('format', args.format) if args.formatfile then checkArg('formatfile', args.formatfile) ret[#ret + 1] = args.format .. '=' .. args.formatfile else ret[#ret + 1] = args.format end end -- Border if yesno(args.border) then ret[#ret + 1] = 'border' end addPositional('location') addPositional('alignment') addPositional('size') addNamed('upright') addNamed('link') addNamed('alt') addNamed('page') addNamed('class') addNamed('lang') addNamed('start') addNamed('end') addNamed('thumbtime') addPositional('caption') return string.format('[[%s]]', table.concat(ret, '|')) end function p.main(frame) local origArgs = require('Module:Arguments').getArgs(frame, { wrappers = 'Template:File link' }) if not origArgs.file then error("'file' parameter missing from [[Template:File link]]", 0) end -- Copy the arguments that were passed to a new table to avoid looking up -- every possible parameter in the frame object. local args = {} for k, v in pairs(origArgs) do -- Make _BLANK a special argument to add a blank parameter. For use in -- conditional templates etc. it is useful for blank arguments to be -- ignored, but we still need a way to specify them so that we can do -- things like [[File:Example.png|link=]]. if v == '_BLANK' then v = '' end args[k] = v end return p._main(args) end return p 66925f088d11530f2482f04181a3baaaa0ad3d0c 10 155 1032 2020-04-03T00:08:09Z wikipedia>Evad37 0 Also match subpage names beginning with "sandbox", per [[Template_talk:Sandbox_other#Template-protected_edit_request_on_28_March_2020|edit request]] wikitext text/x-wiki {{#if:{{#ifeq:{{#invoke:String|sublength|s={{SUBPAGENAME}}|i=0|len=7}}|sandbox|1}}{{#ifeq:{{SUBPAGENAME}}|doc|1}}{{#invoke:String|match|{{PAGENAME}}|/sandbox/styles.css$|plain=false|nomatch=}}|{{{1|}}}|{{{2|}}}}}<!-- --><noinclude>{{documentation}}</noinclude> 91e4ae891d6b791615152c1fbc971414961ba872 10 206 1122 2020-04-13T14:42:57Z wikipedia>Primefac 0 Primefac moved page [[Template:Tlf]] to [[Template:Template link with link off]]: full name to indicate what it does wikitext text/x-wiki #REDIRECT [[Template:Template link with link off]] {{Redirect category shell| {{R from move}} }} 52759e1d3f7c9aa4a03d0b7d4f84f4c6adf53edf 828 113 950 2020-04-18T08:48:05Z wikipedia>Jo-Jo Eumerus 0 Per category talk page Scribunto text/plain -- This module contains the blacklist used by [[Module:Category handler]]. -- Pages that match Lua patterns in this list will not be categorised unless -- categorisation is explicitly requested. return { '^Main Page$', -- don't categorise the main page. -- Don't categorise the following pages or their subpages. -- "%f[/\0]" matches if the next character is "/" or the end of the string. '^Wikipedia:Cascade%-protected items%f[/\0]', '^User:UBX%f[/\0]', -- The userbox "template" space. '^User talk:UBX%f[/\0]', -- Don't categorise subpages of these pages, but allow -- categorisation of the base page. '^Wikipedia:Template index/.*$', -- Don't categorise archives. '/[aA]rchive', "^Wikipedia:Administrators' noticeboard/IncidentArchive%d+$", } 87469d7a9ef2a3c41b2bf04ae18f7c59a18fb855 10 189 1088 2020-06-10T21:31:27Z wikipedia>Primefac 0 TFD withdrawn wikitext text/x-wiki <span class="plainlinks">{{SAFESUBST:<noinclude />#if:{{{2|{{{NAME|{{{name|}}}}}}}}} |[{{{1|{{{URL|{{{url}}}}}}}}} {{{2|{{{NAME|{{{name|}}}}}}}}}] |[{{{1|{{{URL|{{{url}}}}}}}}}] }}</span><noinclude> {{documentation}} </noinclude> 2730384491e116ee2f16e9ceed1cb23b7bb148a0 828 105 934 2020-08-02T15:49:42Z wikipedia>RexxS 0 separate annotations for str.match from those for str._match Scribunto text/plain --[[ This module is intended to provide access to basic string functions. Most of the functions provided here can be invoked with named parameters, unnamed parameters, or a mixture. If named parameters are used, Mediawiki will automatically remove any leading or trailing whitespace from the parameter. Depending on the intended use, it may be advantageous to either preserve or remove such whitespace. Global options ignore_errors: If set to 'true' or 1, any error condition will result in an empty string being returned rather than an error message. error_category: If an error occurs, specifies the name of a category to include with the error message. The default category is [Category:Errors reported by Module String]. no_category: If set to 'true' or 1, no category will be added if an error is generated. Unit tests for this module are available at Module:String/tests. ]] local str = {} --[[ len This function returns the length of the target string. Usage: {{#invoke:String|len|target_string|}} OR {{#invoke:String|len|s=target_string}} Parameters s: The string whose length to report If invoked using named parameters, Mediawiki will automatically remove any leading or trailing whitespace from the target string. ]] function str.len( frame ) local new_args = str._getParameters( frame.args, {'s'} ) local s = new_args['s'] or '' return mw.ustring.len( s ) end --[[ sub This function returns a substring of the target string at specified indices. Usage: {{#invoke:String|sub|target_string|start_index|end_index}} OR {{#invoke:String|sub|s=target_string|i=start_index|j=end_index}} Parameters s: The string to return a subset of i: The fist index of the substring to return, defaults to 1. j: The last index of the string to return, defaults to the last character. The first character of the string is assigned an index of 1. If either i or j is a negative value, it is interpreted the same as selecting a character by counting from the end of the string. Hence, a value of -1 is the same as selecting the last character of the string. If the requested indices are out of range for the given string, an error is reported. ]] function str.sub( frame ) local new_args = str._getParameters( frame.args, { 's', 'i', 'j' } ) local s = new_args['s'] or '' local i = tonumber( new_args['i'] ) or 1 local j = tonumber( new_args['j'] ) or -1 local len = mw.ustring.len( s ) -- Convert negatives for range checking if i < 0 then i = len + i + 1 end if j < 0 then j = len + j + 1 end if i > len or j > len or i < 1 or j < 1 then return str._error( 'String subset index out of range' ) end if j < i then return str._error( 'String subset indices out of order' ) end return mw.ustring.sub( s, i, j ) end --[[ This function implements that features of {{str sub old}} and is kept in order to maintain these older templates. ]] function str.sublength( frame ) local i = tonumber( frame.args.i ) or 0 local len = tonumber( frame.args.len ) return mw.ustring.sub( frame.args.s, i + 1, len and ( i + len ) ) end --[[ _match This function returns a substring from the source string that matches a specified pattern. It is exported for use in other modules Usage: strmatch = require("Module:String")._match sresult = strmatch( s, pattern, start, match, plain, nomatch ) Parameters s: The string to search pattern: The pattern or string to find within the string start: The index within the source string to start the search. The first character of the string has index 1. Defaults to 1. match: In some cases it may be possible to make multiple matches on a single string. This specifies which match to return, where the first match is match= 1. If a negative number is specified then a match is returned counting from the last match. Hence match = -1 is the same as requesting the last match. Defaults to 1. plain: A flag indicating that the pattern should be understood as plain text. Defaults to false. nomatch: If no match is found, output the "nomatch" value rather than an error. For information on constructing Lua patterns, a form of [regular expression], see: * http://www.lua.org/manual/5.1/manual.html#5.4.1 * http://www.mediawiki.org/wiki/Extension:Scribunto/Lua_reference_manual#Patterns * http://www.mediawiki.org/wiki/Extension:Scribunto/Lua_reference_manual#Ustring_patterns ]] -- This sub-routine is exported for use in other modules function str._match( s, pattern, start, match_index, plain_flag, nomatch ) if s == '' then return str._error( 'Target string is empty' ) end if pattern == '' then return str._error( 'Pattern string is empty' ) end start = tonumber(start) or 1 if math.abs(start) < 1 or math.abs(start) > mw.ustring.len( s ) then return str._error( 'Requested start is out of range' ) end if match_index == 0 then return str._error( 'Match index is out of range' ) end if plain_flag then pattern = str._escapePattern( pattern ) end local result if match_index == 1 then -- Find first match is simple case result = mw.ustring.match( s, pattern, start ) else if start > 1 then s = mw.ustring.sub( s, start ) end local iterator = mw.ustring.gmatch(s, pattern) if match_index > 0 then -- Forward search for w in iterator do match_index = match_index - 1 if match_index == 0 then result = w break end end else -- Reverse search local result_table = {} local count = 1 for w in iterator do result_table[count] = w count = count + 1 end result = result_table[ count + match_index ] end end if result == nil then if nomatch == nil then return str._error( 'Match not found' ) else return nomatch end else return result end end --[[ match This function returns a substring from the source string that matches a specified pattern. Usage: {{#invoke:String|match|source_string|pattern_string|start_index|match_number|plain_flag|nomatch_output}} OR {{#invoke:String|match|s=source_string|pattern=pattern_string|start=start_index |match=match_number|plain=plain_flag|nomatch=nomatch_output}} Parameters s: The string to search pattern: The pattern or string to find within the string start: The index within the source string to start the search. The first character of the string has index 1. Defaults to 1. match: In some cases it may be possible to make multiple matches on a single string. This specifies which match to return, where the first match is match= 1. If a negative number is specified then a match is returned counting from the last match. Hence match = -1 is the same as requesting the last match. Defaults to 1. plain: A flag indicating that the pattern should be understood as plain text. Defaults to false. nomatch: If no match is found, output the "nomatch" value rather than an error. If invoked using named parameters, Mediawiki will automatically remove any leading or trailing whitespace from each string. In some circumstances this is desirable, in other cases one may want to preserve the whitespace. If the match_number or start_index are out of range for the string being queried, then this function generates an error. An error is also generated if no match is found. If one adds the parameter ignore_errors=true, then the error will be suppressed and an empty string will be returned on any failure. For information on constructing Lua patterns, a form of [regular expression], see: * http://www.lua.org/manual/5.1/manual.html#5.4.1 * http://www.mediawiki.org/wiki/Extension:Scribunto/Lua_reference_manual#Patterns * http://www.mediawiki.org/wiki/Extension:Scribunto/Lua_reference_manual#Ustring_patterns ]] -- This is the entry point for #invoke:String|match function str.match( frame ) local new_args = str._getParameters( frame.args, {'s', 'pattern', 'start', 'match', 'plain', 'nomatch'} ) local s = new_args['s'] or '' local start = tonumber( new_args['start'] ) or 1 local plain_flag = str._getBoolean( new_args['plain'] or false ) local pattern = new_args['pattern'] or '' local match_index = math.floor( tonumber(new_args['match']) or 1 ) local nomatch = new_args['nomatch'] return str._match( s, pattern, start, match_index, plain_flag, nomatch ) end --[[ pos This function returns a single character from the target string at position pos. Usage: {{#invoke:String|pos|target_string|index_value}} OR {{#invoke:String|pos|target=target_string|pos=index_value}} Parameters target: The string to search pos: The index for the character to return If invoked using named parameters, Mediawiki will automatically remove any leading or trailing whitespace from the target string. In some circumstances this is desirable, in other cases one may want to preserve the whitespace. The first character has an index value of 1. If one requests a negative value, this function will select a character by counting backwards from the end of the string. In other words pos = -1 is the same as asking for the last character. A requested value of zero, or a value greater than the length of the string returns an error. ]] function str.pos( frame ) local new_args = str._getParameters( frame.args, {'target', 'pos'} ) local target_str = new_args['target'] or '' local pos = tonumber( new_args['pos'] ) or 0 if pos == 0 or math.abs(pos) > mw.ustring.len( target_str ) then return str._error( 'String index out of range' ) end return mw.ustring.sub( target_str, pos, pos ) end --[[ str_find This function duplicates the behavior of {{str_find}}, including all of its quirks. This is provided in order to support existing templates, but is NOT RECOMMENDED for new code and templates. New code is recommended to use the "find" function instead. Returns the first index in "source" that is a match to "target". Indexing is 1-based, and the function returns -1 if the "target" string is not present in "source". Important Note: If the "target" string is empty / missing, this function returns a value of "1", which is generally unexpected behavior, and must be accounted for separatetly. ]] function str.str_find( frame ) local new_args = str._getParameters( frame.args, {'source', 'target'} ) local source_str = new_args['source'] or '' local target_str = new_args['target'] or '' if target_str == '' then return 1 end local start = mw.ustring.find( source_str, target_str, 1, true ) if start == nil then start = -1 end return start end --[[ find This function allows one to search for a target string or pattern within another string. Usage: {{#invoke:String|find|source_str|target_string|start_index|plain_flag}} OR {{#invoke:String|find|source=source_str|target=target_str|start=start_index|plain=plain_flag}} Parameters source: The string to search target: The string or pattern to find within source start: The index within the source string to start the search, defaults to 1 plain: Boolean flag indicating that target should be understood as plain text and not as a Lua style regular expression, defaults to true If invoked using named parameters, Mediawiki will automatically remove any leading or trailing whitespace from the parameter. In some circumstances this is desirable, in other cases one may want to preserve the whitespace. This function returns the first index >= "start" where "target" can be found within "source". Indices are 1-based. If "target" is not found, then this function returns 0. If either "source" or "target" are missing / empty, this function also returns 0. This function should be safe for UTF-8 strings. ]] function str.find( frame ) local new_args = str._getParameters( frame.args, {'source', 'target', 'start', 'plain' } ) local source_str = new_args['source'] or '' local pattern = new_args['target'] or '' local start_pos = tonumber(new_args['start']) or 1 local plain = new_args['plain'] or true if source_str == '' or pattern == '' then return 0 end plain = str._getBoolean( plain ) local start = mw.ustring.find( source_str, pattern, start_pos, plain ) if start == nil then start = 0 end return start end --[[ replace This function allows one to replace a target string or pattern within another string. Usage: {{#invoke:String|replace|source_str|pattern_string|replace_string|replacement_count|plain_flag}} OR {{#invoke:String|replace|source=source_string|pattern=pattern_string|replace=replace_string| count=replacement_count|plain=plain_flag}} Parameters source: The string to search pattern: The string or pattern to find within source replace: The replacement text count: The number of occurences to replace, defaults to all. plain: Boolean flag indicating that pattern should be understood as plain text and not as a Lua style regular expression, defaults to true ]] function str.replace( frame ) local new_args = str._getParameters( frame.args, {'source', 'pattern', 'replace', 'count', 'plain' } ) local source_str = new_args['source'] or '' local pattern = new_args['pattern'] or '' local replace = new_args['replace'] or '' local count = tonumber( new_args['count'] ) local plain = new_args['plain'] or true if source_str == '' or pattern == '' then return source_str end plain = str._getBoolean( plain ) if plain then pattern = str._escapePattern( pattern ) replace = mw.ustring.gsub( replace, "%%", "%%%%" ) --Only need to escape replacement sequences. end local result if count ~= nil then result = mw.ustring.gsub( source_str, pattern, replace, count ) else result = mw.ustring.gsub( source_str, pattern, replace ) end return result end --[[ simple function to pipe string.rep to templates. ]] function str.rep( frame ) local repetitions = tonumber( frame.args[2] ) if not repetitions then return str._error( 'function rep expects a number as second parameter, received "' .. ( frame.args[2] or '' ) .. '"' ) end return string.rep( frame.args[1] or '', repetitions ) end --[[ escapePattern This function escapes special characters from a Lua string pattern. See [1] for details on how patterns work. [1] https://www.mediawiki.org/wiki/Extension:Scribunto/Lua_reference_manual#Patterns Usage: {{#invoke:String|escapePattern|pattern_string}} Parameters pattern_string: The pattern string to escape. ]] function str.escapePattern( frame ) local pattern_str = frame.args[1] if not pattern_str then return str._error( 'No pattern string specified' ) end local result = str._escapePattern( pattern_str ) return result end --[[ count This function counts the number of occurrences of one string in another. ]] function str.count(frame) local args = str._getParameters(frame.args, {'source', 'pattern', 'plain'}) local source = args.source or '' local pattern = args.pattern or '' local plain = str._getBoolean(args.plain or true) if plain then pattern = str._escapePattern(pattern) end local _, count = mw.ustring.gsub(source, pattern, '') return count end --[[ endswith This function determines whether a string ends with another string. ]] function str.endswith(frame) local args = str._getParameters(frame.args, {'source', 'pattern'}) local source = args.source or '' local pattern = args.pattern or '' if pattern == '' then -- All strings end with the empty string. return "yes" end if mw.ustring.sub(source, -mw.ustring.len(pattern), -1) == pattern then return "yes" else return "" end end --[[ join Join all non empty arguments together; the first argument is the separator. Usage: {{#invoke:String|join|sep|one|two|three}} ]] function str.join(frame) local args = {} local sep for _, v in ipairs( frame.args ) do if sep then if v ~= '' then table.insert(args, v) end else sep = v end end return table.concat( args, sep or '' ) end --[[ Helper function that populates the argument list given that user may need to use a mix of named and unnamed parameters. This is relevant because named parameters are not identical to unnamed parameters due to string trimming, and when dealing with strings we sometimes want to either preserve or remove that whitespace depending on the application. ]] function str._getParameters( frame_args, arg_list ) local new_args = {} local index = 1 local value for _, arg in ipairs( arg_list ) do value = frame_args[arg] if value == nil then value = frame_args[index] index = index + 1 end new_args[arg] = value end return new_args end --[[ Helper function to handle error messages. ]] function str._error( error_str ) local frame = mw.getCurrentFrame() local error_category = frame.args.error_category or 'Errors reported by Module String' local ignore_errors = frame.args.ignore_errors or false local no_category = frame.args.no_category or false if str._getBoolean(ignore_errors) then return '' end local error_str = '<strong class="error">String Module Error: ' .. error_str .. '</strong>' if error_category ~= '' and not str._getBoolean( no_category ) then error_str = '[[Category:' .. error_category .. ']]' .. error_str end return error_str end --[[ Helper Function to interpret boolean strings ]] function str._getBoolean( boolean_str ) local boolean_value if type( boolean_str ) == 'string' then boolean_str = boolean_str:lower() if boolean_str == 'false' or boolean_str == 'no' or boolean_str == '0' or boolean_str == '' then boolean_value = false else boolean_value = true end elseif type( boolean_str ) == 'boolean' then boolean_value = boolean_str else error( 'No boolean value found' ) end return boolean_value end --[[ Helper function that escapes all pattern characters so that they will be treated as plain text. ]] function str._escapePattern( pattern_str ) return mw.ustring.gsub( pattern_str, "([%(%)%.%%%+%-%*%?%[%^%$%]])", "%%%1" ) end return str 6df794dd52434e0f6a372c9918f5a9dedd15f579 10 100 924 2020-08-28T03:15:17Z wikipedia>Xaosflux 0 add additional paramerters, "t", "f" - requested on talk - worked in sandbox /testcases wikitext text/x-wiki {{<includeonly>safesubst:</includeonly>#switch: {{<includeonly>safesubst:</includeonly>lc: {{{1|¬}}} }} |no |n |f |false |off |0 = {{{no|<!-- null -->}}} | = {{{blank|{{{no|<!-- null -->}}}}}} |¬ = {{{¬|}}} |yes |y |t |true |on |1 = {{{yes|yes}}} |#default = {{{def|{{{yes|yes}}}}}} }}<noinclude> {{Documentation}} </noinclude> 629c2937bc5cf7cfe13cd2a598582af832782399 828 214 1138 2020-08-30T07:28:25Z wikipedia>Johnuniq 0 Changed protection level for "[[Module:TNT]]": [[WP:High-risk templates|High-risk Lua module]]: per request at [[WP:RFPP]] to match [[Module:Excerpt]] ([Edit=Require template editor access] (indefinite) [Move=Require template editor access] (indefinite)) Scribunto text/plain -- -- INTRO: (!!! DO NOT RENAME THIS PAGE !!!) -- This module allows any template or module to be copy/pasted between -- wikis without any translation changes. All translation text is stored -- in the global Data:*.tab pages on Commons, and used everywhere. -- -- SEE: https://www.mediawiki.org/wiki/Multilingual_Templates_and_Modules -- -- ATTENTION: -- Please do NOT rename this module - it has to be identical on all wikis. -- This code is maintained at https://www.mediawiki.org/wiki/Module:TNT -- Please do not modify it anywhere else, as it may get copied and override your changes. -- Suggestions can be made at https://www.mediawiki.org/wiki/Module_talk:TNT -- -- DESCRIPTION: -- The "msg" function uses a Commons dataset to translate a message -- with a given key (e.g. source-table), plus optional arguments -- to the wiki markup in the current content language. -- Use lang=xx to set language. Example: -- -- {{#invoke:TNT | msg -- | I18n/Template:Graphs.tab <!-- https://commons.wikimedia.org/wiki/Data:I18n/Template:Graphs.tab --> -- | source-table <!-- uses a translation message with id = "source-table" --> -- | param1 }} <!-- optional parameter --> -- -- -- The "doc" function will generate the <templatedata> parameter documentation for templates. -- This way all template parameters can be stored and localized in a single Commons dataset. -- NOTE: "doc" assumes that all documentation is located in Data:Templatedata/* on Commons. -- -- {{#invoke:TNT | doc | Graph:Lines }} -- uses https://commons.wikimedia.org/wiki/Data:Templatedata/Graph:Lines.tab -- if the current page is Template:Graph:Lines/doc -- local p = {} local i18nDataset = 'I18n/Module:TNT.tab' -- Forward declaration of the local functions local sanitizeDataset, loadData, link, formatMessage function p.msg(frame) local dataset, id local params = {} local lang = nil for k, v in pairs(frame.args) do if k == 1 then dataset = mw.text.trim(v) elseif k == 2 then id = mw.text.trim(v) elseif type(k) == 'number' then table.insert(params, mw.text.trim(v)) elseif k == 'lang' and v ~= '_' then lang = mw.text.trim(v) end end return formatMessage(dataset, id, params, lang) end -- Identical to p.msg() above, but used from other lua modules -- Parameters: name of dataset, message key, optional arguments -- Example with 2 params: format('I18n/Module:TNT', 'error_bad_msgkey', 'my-key', 'my-dataset') function p.format(dataset, key, ...) local checkType = require('libraryUtil').checkType checkType('format', 1, dataset, 'string') checkType('format', 2, key, 'string') return formatMessage(dataset, key, {...}) end -- Identical to p.msg() above, but used from other lua modules with the language param -- Parameters: language code, name of dataset, message key, optional arguments -- Example with 2 params: formatInLanguage('es', I18n/Module:TNT', 'error_bad_msgkey', 'my-key', 'my-dataset') function p.formatInLanguage(lang, dataset, key, ...) local checkType = require('libraryUtil').checkType checkType('formatInLanguage', 1, lang, 'string') checkType('formatInLanguage', 2, dataset, 'string') checkType('formatInLanguage', 3, key, 'string') return formatMessage(dataset, key, {...}, lang) end -- Obsolete function that adds a 'c:' prefix to the first param. -- "Sandbox/Sample.tab" -> 'c:Data:Sandbox/Sample.tab' function p.link(frame) return link(frame.args[1]) end function p.doc(frame) local dataset = 'Templatedata/' .. sanitizeDataset(frame.args[1]) return frame:extensionTag('templatedata', p.getTemplateData(dataset)) .. formatMessage(i18nDataset, 'edit_doc', {link(dataset)}) end function p.getTemplateData(dataset) -- TODO: add '_' parameter once lua starts reindexing properly for "all" languages local data = loadData(dataset) local names = {} for _, field in pairs(data.schema.fields) do table.insert(names, field.name) end local params = {} local paramOrder = {} for _, row in pairs(data.data) do local newVal = {} local name = nil for pos, val in pairs(row) do local columnName = names[pos] if columnName == 'name' then name = val else newVal[columnName] = val end end if name then params[name] = newVal table.insert(paramOrder, name) end end -- Work around json encoding treating {"1":{...}} as an [{...}] params['zzz123']='' local json = mw.text.jsonEncode({ params=params, paramOrder=paramOrder, description=data.description }) json = string.gsub(json,'"zzz123":"",?', "") return json end -- Local functions sanitizeDataset = function(dataset) if not dataset then return nil end dataset = mw.text.trim(dataset) if dataset == '' then return nil elseif string.sub(dataset,-4) ~= '.tab' then return dataset .. '.tab' else return dataset end end loadData = function(dataset, lang) dataset = sanitizeDataset(dataset) if not dataset then error(formatMessage(i18nDataset, 'error_no_dataset', {})) end -- Give helpful error to thirdparties who try and copy this module. if not mw.ext or not mw.ext.data or not mw.ext.data.get then error('Missing JsonConfig extension; Cannot load https://commons.wikimedia.org/wiki/Data:' .. dataset) end local data = mw.ext.data.get(dataset, lang) if data == false then if dataset == i18nDataset then -- Prevent cyclical calls error('Missing Commons dataset ' .. i18nDataset) else error(formatMessage(i18nDataset, 'error_bad_dataset', {link(dataset)})) end end return data end -- Given a dataset name, convert it to a title with the 'commons:data:' prefix link = function(dataset) return 'c:Data:' .. mw.text.trim(dataset or '') end formatMessage = function(dataset, key, params, lang) for _, row in pairs(loadData(dataset, lang).data) do local id, msg = unpack(row) if id == key then local result = mw.message.newRawMessage(msg, unpack(params or {})) return result:plain() end end if dataset == i18nDataset then -- Prevent cyclical calls error('Invalid message key "' .. key .. '"') else error(formatMessage(i18nDataset, 'error_bad_msgkey', {key, link(dataset)})) end end return p 9d0d10e54abd232c806dcabccaf03e52858634a1 828 124 972 2020-09-29T03:38:47Z wikipedia>Jackmcbarn 0 bring in changes from sandbox Scribunto text/plain local p = {} -- Returns the permission required to perform a given action on a given title. -- If no title is specified, the title of the page being displayed is used. function p._main(action, pagename) local title if type(pagename) == 'table' and pagename.prefixedText then title = pagename elseif pagename then title = mw.title.new(pagename) else title = mw.title.getCurrentTitle() end pagename = title.prefixedText if action == 'autoreview' then local level = mw.ext.FlaggedRevs.getStabilitySettings(title) level = level and level.autoreview if level == 'review' then return 'reviewer' elseif level ~= '' then return level else return nil -- not '*'. a page not being PC-protected is distinct from it being PC-protected with anyone able to review. also not '', as that would mean PC-protected but nobody can review end elseif action ~= 'edit' and action ~= 'move' and action ~= 'create' and action ~= 'upload' and action ~= 'undelete' then error( 'First parameter must be one of edit, move, create, upload, undelete, autoreview', 2 ) end if title.namespace == 8 then -- MediaWiki namespace if title.text:sub(-3) == '.js' or title.text:sub(-4) == '.css' or title.contentModel == 'javascript' or title.contentModel == 'css' then -- site JS or CSS page return 'interfaceadmin' else -- any non-JS/CSS MediaWiki page return 'sysop' end elseif title.namespace == 2 and title.isSubpage then if title.contentModel == 'javascript' or title.contentModel == 'css' then -- user JS or CSS page return 'interfaceadmin' elseif title.contentModel == 'json' then -- user JSON page return 'sysop' end end if action == 'undelete' then return 'sysop' end local level = title.protectionLevels[action] and title.protectionLevels[action][1] if level == 'sysop' or level == 'editprotected' then return 'sysop' elseif title.cascadingProtection.restrictions[action] and title.cascadingProtection.restrictions[action][1] then -- used by a cascading-protected page return 'sysop' elseif level == 'templateeditor' then return 'templateeditor' elseif action == 'move' then local blacklistentry = mw.ext.TitleBlacklist.test('edit', pagename) -- Testing action edit is correct, since this is for the source page. The target page name gets tested with action move. if blacklistentry and not blacklistentry.params.autoconfirmed then return 'templateeditor' elseif title.namespace == 6 then return 'filemover' elseif level == 'extendedconfirmed' then return 'extendedconfirmed' else return 'autoconfirmed' end end local blacklistentry = mw.ext.TitleBlacklist.test(action, pagename) if blacklistentry then if not blacklistentry.params.autoconfirmed then return 'templateeditor' elseif level == 'extendedconfirmed' then return 'extendedconfirmed' else return 'autoconfirmed' end elseif level == 'editsemiprotected' then -- create-semiprotected pages return this for some reason return 'autoconfirmed' elseif level then return level elseif action == 'upload' then return 'autoconfirmed' elseif action == 'create' and title.namespace % 2 == 0 and title.namespace ~= 118 then -- You need to be registered, but not autoconfirmed, to create non-talk pages other than drafts return 'user' else return '*' end end setmetatable(p, { __index = function(t, k) return function(frame) return t._main(k, frame.args[1]) end end }) return p 70256a489edf6be9808031b14a7e3ef3e025da97 828 154 1030 2020-11-19T20:21:58Z wikipedia>Izno 0 Changed protection level for "[[Module:Documentation/styles.css]]": actually match module ([Edit=Require template editor access] (indefinite) [Move=Require template editor access] (indefinite)) text text/plain /* {{pp|small=yes}} */ .documentation, .documentation-metadata { border: 1px solid #a2a9b1; background-color: #ecfcf4; clear: both; } .documentation { margin: 1em 0 0 0; padding: 1em; } .documentation-metadata { margin: 0.2em 0; /* same margin left-right as .documentation */ font-style: italic; padding: 0.4em 1em; /* same padding left-right as .documentation */ } .documentation-startbox { padding-bottom: 3px; border-bottom: 1px solid #aaa; margin-bottom: 1ex; } .documentation-heading { font-weight: bold; font-size: 125%; } .documentation-clear { /* Don't want things to stick out where they shouldn't. */ clear: both; } .documentation-toolbar { font-style: normal; font-size: 85%; } ce0e629c92e3d825ab9fd927fe6cc37d9117b6cb 10 198 1106 2020-11-19T20:21:58Z wikipedia>Izno 0 Changed protection level for "[[Module:Documentation/styles.css]]": actually match module ([Edit=Require template editor access] (indefinite) [Move=Require template editor access] (indefinite)) text text/plain /* {{pp|small=yes}} */ .documentation, .documentation-metadata { border: 1px solid #a2a9b1; background-color: #ecfcf4; clear: both; } .documentation { margin: 1em 0 0 0; padding: 1em; } .documentation-metadata { margin: 0.2em 0; /* same margin left-right as .documentation */ font-style: italic; padding: 0.4em 1em; /* same padding left-right as .documentation */ } .documentation-startbox { padding-bottom: 3px; border-bottom: 1px solid #aaa; margin-bottom: 1ex; } .documentation-heading { font-weight: bold; font-size: 125%; } .documentation-clear { /* Don't want things to stick out where they shouldn't. */ clear: both; } .documentation-toolbar { font-style: normal; font-size: 85%; } ce0e629c92e3d825ab9fd927fe6cc37d9117b6cb 10 157 1036 2020-11-20T18:16:50Z wikipedia>Primefac 0 Primefac moved page [[Template:Tnull]] to [[Template:Template link null]]: more obvious template name to match family wikitext text/x-wiki #REDIRECT [[Template:Template link null]] {{Redirect category shell| {{R from move}} }} b22d666a4b16808dc3becc2403546fb9ab5dea7e 10 204 1118 2020-11-20T18:52:18Z wikipedia>Primefac 0 avoid redir wikitext text/x-wiki #REDIRECT [[Template:Template link code]] be5d6275ea41d83224503e05901f3405c82141f7 10 203 1116 2020-11-21T12:04:32Z wikipedia>Primefac 0 wikitext text/x-wiki <includeonly>{{#Invoke:Template link general|main|nowrap=yes}}</includeonly><noinclude> {{Documentation|1=Template:Tlg/doc |content = {{tlg/doc|tlp}} }} <!-- Add categories to the /doc subpage, not here! --> </noinclude> 8fe73a6eea633360a927820d10469b7292bfc1c2 10 205 1120 2020-11-21T12:06:17Z wikipedia>Primefac 0 update wikitext text/x-wiki <includeonly>{{#Invoke:Template link general|main|nowrap=yes|nolink=yes}}</includeonly><noinclude> {{Documentation|1=Template:Tlg/doc |content = {{tlg/doc|tlf}} }} <!-- Add categories to the /doc subpage, not here! --> </noinclude> b099fea5d1f36b0b4b9cb253ad3a9f4e095f6851 10 201 1112 2020-11-21T12:06:22Z wikipedia>Primefac 0 update wikitext text/x-wiki <includeonly>{{#Invoke:Template link general|main|nolink=yes|code=yes|nowrap=yes}}</includeonly><noinclude> {{Documentation|1=Template:Tlg/doc |content = {{tlg/doc|tlc}} }} <!-- Add categories to the /doc subpage, not here! --> </noinclude> 044f00ca1bfc10cb967c32e893043ccc6f739764 10 158 1038 2020-11-21T12:06:41Z wikipedia>Primefac 0 update wikitext text/x-wiki <includeonly>{{#Invoke:Template link general|main|nolink=yes|code=yes}}</includeonly><noinclude> {{Documentation|1=Template:Tlg/doc |content = {{tlg/doc|tnull}} }} <!-- Add categories to the /doc subpage, not here! --> </noinclude> 2167c503e001d24d870ef82a9de0aaa9832404cb 10 119 962 2021-01-14T19:30:02Z wikipedia>Xaosflux 0 Changed protection level for "[[Template:Xt]]": used in system messages ([[MediaWiki:Titleblacklist-custom-archive]]) ([Edit=Require template editor access] (indefinite) [Move=Require administrator access] (indefinite)) wikitext text/x-wiki {{#ifeq:{{NAMESPACE}}|{{ns:0}}|{{FormattingError|[[:{{#invoke:TEMPLATENAME|main}}]] is only for examples of style and formatting. Do not use it in actual articles.}}|<span class="example" style="font-family: Georgia, 'DejaVu Serif', serif; color: #006400;" {{#if:{{{title|}}}|title="{{{title}}}"}}>{{{1|Example text}}}</span>}}<noinclude> {{Documentation}} </noinclude> e8c5895953384f68b9648a698f7f33d79748e408 10 94 912 2021-02-12T22:03:00Z wikipedia>Anthony Appleyard 0 Anthony Appleyard moved page [[Template:Tl]] to [[Template:Template link]]: [[Special:Permalink/1006428669|Requested]] by Buidhe at [[WP:RM/TR]]: RM closed as move wikitext text/x-wiki #REDIRECT [[Template:Template link]] {{Redirect category shell| {{R from move}} }} d6593bb3b4a866249f55d0f34b047a71fe1f1529 10 179 1066 2021-02-16T17:54:32Z wikipedia>Nardog 0 TfM closed as convert wikitext text/x-wiki <includeonly>{{#invoke:Shortcut|main|template=yes}}</includeonly><noinclude>{{Documentation}}</noinclude> bfb2889c4c0ec36294b7b667f5e03350d2df680e 828 164 1044 2021-02-16T18:43:45Z wikipedia>Nardog 0 Scribunto text/plain -- This module holds configuration data for [[Module:Shortcut]]. return { -- The heading at the top of the shortcut box. It accepts the following parameter: -- $1 - the total number of shortcuts. (required) ['shortcut-heading'] = '[[Wikipedia:Shortcut|{{PLURAL:$1|Shortcut|Shortcuts}}]]', -- The heading when |redirect=yes is given. It accepts the following parameter: -- $1 - the total number of shortcuts. (required) ['redirect-heading'] = '[[Wikipedia:Redirect|{{PLURAL:$1|Redirect|Redirects}}]]', -- The error message to display when a shortcut is invalid (is not a string, or -- is the blank string). It accepts the following parameter: -- $1 - the number of the shortcut in the argument list. (required) ['invalid-shortcut-error'] = 'shortcut #$1 was invalid (shortcuts must be ' .. 'strings of at least one character in length)', -- The error message to display when no shortcuts or other displayable content -- were specified. (required) ['no-content-error'] = 'Error: no shortcuts were specified and the ' .. mw.text.nowiki('|msg=') .. ' parameter was not set.', -- A category to add when the no-content-error message is displayed. (optional) ['no-content-error-category'] = 'Shortcut templates with missing parameters', } f9d1d94844d5953753eb19e30a3ce389eda3d319 10 191 1092 2021-03-08T23:00:26Z wikipedia>Izno 0 Changed protection level for "[[Template:Reflist/styles.css]]": match parent ([Edit=Require administrator access] (indefinite) [Move=Require administrator access] (indefinite)) text text/plain /* {{pp|small=yes}} */ /* can we remove the font size declarations? .references gets a font-size in * common.css that is always 90, and there is nothing else in reflist out in * the wild. May affect column sizes. */ .reflist { font-size: 90%; /* Default font-size */ margin-bottom: 0.5em; list-style-type: decimal; } .reflist .references { font-size: 100%; /* Reset font-size when nested in div.reflist */ margin-bottom: 0; /* Avoid double margin when nested in div.reflist */ list-style-type: inherit; /* Enable custom list style types */ } /* columns-2 and columns-3 are legacy for "2 or more" column view from when the * template was implemented with column-count. */ .reflist-columns-2 { column-width: 30em; } .reflist-columns-3 { column-width: 25em; } /* Reset top margin for lists embedded in columns */ .reflist-columns { margin-top: 0.3em; } .reflist-columns ol { margin-top: 0; } /* Avoid elements breaking between columns */ .reflist-columns li { page-break-inside: avoid; /* Removed from CSS in favor of break-inside c. 2020 */ break-inside: avoid-column; } .reflist-upper-alpha { list-style-type: upper-alpha; } .reflist-upper-roman { list-style-type: upper-roman; } .reflist-lower-alpha { list-style-type: lower-alpha; } .reflist-lower-greek { list-style-type: lower-greek; } .reflist-lower-roman { list-style-type: lower-roman; } 531a26d48f0e7826c61f764cfb7d5fb200032c34 10 95 914 2021-03-25T19:03:22Z wikipedia>Izno 0 [[Wikipedia:Templates for discussion/Log/2021 March 18#Template:Tlu]] closed as keep ([[WP:XFDC#4.0.11|XFDcloser]]) wikitext text/x-wiki &#123;&#123;[[Template:{{{1}}}|{{{1}}}]]&#125;&#125;<noinclude>{{documentation}} <!-- Categories go on the /doc subpage and interwikis go on Wikidata. --> </noinclude> eabbec62efe3044a98ebb3ce9e7d4d43c222351d 10 120 964 2021-04-05T10:10:56Z wikipedia>Xaosflux 0 Changed protection level for "[[Template:!xt]]": reduced highly visible msg use, lower to TEP ([Edit=Require template editor access] (indefinite) [Move=Require administrator access] (indefinite)) wikitext text/x-wiki {{#ifeq:{{NAMESPACE}}|{{ns:0}}|{{FormattingError|[[:{{#invoke:TEMPLATENAME|main}}]] is only for examples of style and formatting. Do not use it in actual articles.}}|<span class="example deprecated-content example-bad" style="font-family: Georgia, 'DejaVu Serif', serif; color: #8B0000;" {{#if:{{{title|}}}|title="{{{title}}}"}}>{{{1|Example text}}}</span>}}<noinclude> {{Documentation}} </noinclude> 5c54359c619901a0b19422399dc9a3e324e02879 10 175 1062 2021-06-11T18:13:44Z wikipedia>GKFX 0 Support wider range of (valid) input format wikitext text/x-wiki [[:Category:{{#invoke:string|replace|1={{{1}}}|2=^:?[Cc]ategory:|3=|plain=false}}|<!-- -->{{#if:{{{name|}}}|{{{name}}}|Category:{{#invoke:string|replace|1={{{1}}}|2=^:?[Cc]ategory:|3=|plain=false}}}}<!-- -->]]&nbsp;({{PAGESINCATEGORY:{{#invoke:string|replace|1={{{1}}}|2=^:?[Cc]ategory:|3=|plain=false}}|{{{2|all}}}}})<noinclude> {{Documentation}} </noinclude> f93f1540b8c157703bd6d24ae35c35bef745981d 10 122 968 2021-06-26T18:05:09Z wikipedia>Trialpears 0 Remove TfD notice as it wouldn't involve any changes to this template. wikitext text/x-wiki <includeonly>{{#invoke:Navbox|navbox}}</includeonly><noinclude> {{Documentation}} </noinclude> fe9b964401f895918ee4fe078678f1722a3c41ec 828 128 980 2021-07-12T19:22:27Z wikipedia>Izno 0 per my talk page text text/plain /* {{pp|small=y}} */ .hatnote { font-style: italic; } /* Limit structure CSS to divs because of [[Module:Hatnote inline]] */ div.hatnote { /* @noflip */ padding-left: 1.6em; margin-bottom: 0.5em; } .hatnote i { font-style: normal; } /* The templatestyles element inserts a link element before hatnotes. * TODO: Remove link if/when WMF resolves T200206 */ .hatnote + link + .hatnote { margin-top: -0.5em; } 44680ffd6e888866df2cdfa0341af9c7b97da94c 10 193 1096 2021-07-12T19:22:27Z wikipedia>Izno 0 per my talk page text text/plain /* {{pp|small=y}} */ .hatnote { font-style: italic; } /* Limit structure CSS to divs because of [[Module:Hatnote inline]] */ div.hatnote { /* @noflip */ padding-left: 1.6em; margin-bottom: 0.5em; } .hatnote i { font-style: normal; } /* The templatestyles element inserts a link element before hatnotes. * TODO: Remove link if/when WMF resolves T200206 */ .hatnote + link + .hatnote { margin-top: -0.5em; } 44680ffd6e888866df2cdfa0341af9c7b97da94c 10 171 1054 2021-08-21T18:02:56Z wikipedia>SUM1 0 Added missing "lc" parameters; added optional "based" parameter to add text "based on this[/its] TemplateData" at end of template wikitext text/x-wiki {{#switch:{{{label|}}} |=[https://bambots.brucemyers.com/TemplateParam.php?wiki=enwiki&template={{Urlencode:{{#if:{{{1|}}}|{{ROOTPAGENAME:{{{1|}}}}}|{{ROOTPAGENAME}}}}}} {{#ifeq:{{yesno-no|{{{lc}}}}}|no|C|c}}lick here] to see a monthly parameter usage report for {{#if:{{{1|}}}|[[Template:{{ROOTPAGENAME:{{{1|}}}}}]]|this template}}{{#ifeq:{{yesno-no|{{{based}}}}}|yes|&#32;based on {{#if:{{{1|}}}|its|this}} TemplateData}}. |None|none=[https://bambots.brucemyers.com/TemplateParam.php?wiki=enwiki&template={{Urlencode:{{#if:{{{1|}}}|{{ROOTPAGENAME:{{{1|}}}}}|{{ROOTPAGENAME}}}}}} {{#ifeq:{{yesno-no|{{{lc}}}}}|no|P|p}}arameter usage report]{{#ifeq:{{yesno-no|{{{based}}}}}|yes|&#32;based on {{#if:{{{1|}}}|its|this}} TemplateData}} |for|For=[https://bambots.brucemyers.com/TemplateParam.php?wiki=enwiki&template={{Urlencode:{{#if:{{{1|}}}|{{ROOTPAGENAME:{{{1|}}}}}|{{ROOTPAGENAME}}}}}} {{#ifeq:{{yesno-no|{{{lc}}}}}|no|P|p}}arameter usage report] for {{#if:{{{1|}}}|[[Template:{{ROOTPAGENAME:{{{1|}}}}}]]|[[Template:{{ROOTPAGENAME}}]]}}{{#ifeq:{{yesno-no|{{{based}}}}}|yes|&#32;based on {{#if:{{{1|}}}|its|this}} TemplateData}}. |#default=[https://bambots.brucemyers.com/TemplateParam.php?wiki=enwiki&template={{Urlencode:{{#if:{{{1|}}}|{{ROOTPAGENAME:{{{1|}}}}}|{{ROOTPAGENAME}}}}}} {{{label|}}}]{{#ifeq:{{yesno-no|{{{based}}}}}|yes|&#32;based on {{#if:{{{1|}}}|its|this}} TemplateData}} }}<noinclude> {{documentation}} </noinclude> b9cdd1b2e409313904f041c38562a3d6221cc017 10 170 1052 2021-08-29T21:32:29Z wikipedia>SUM1 0 Added "based" parameter to other transclusion wikitext text/x-wiki <div class="templatedata-header">{{#if:{{{noheader|}}}|<!-- noheader: -->{{Template parameter usage|based=y}}|<!-- +header: -->This is the {{#if:{{{nolink|}}}|<!-- +header, nolink TD -->TemplateData|<!-- +header, +link [[TD]]; DEFAULT: -->[[Wikipedia:TemplateData|TemplateData]]}}<!-- e.o. #if:nolink; DEFAULT: --> for this template used by [[mw:Extension:TemplateWizard|TemplateWizard]], [[Wikipedia:VisualEditor|VisualEditor]] and other tools. {{Template parameter usage|based=y}}<!-- e.o. #if:noheader -->}} '''TemplateData for {{{1|{{BASEPAGENAME}}}}}''' </div><includeonly><!-- check parameters -->{{#invoke:Check for unknown parameters|check |unknown={{template other|1=[[Category:Pages using TemplateData header with unknown parameters|_VALUE_]]}} |template=Template:TemplateData header |1 |nolink |noheader |preview=<div class="error" style="font-weight:normal">Unknown parameter '_VALUE_' in [[Template:TemplateData header]].</div> }}<!-- -->{{template other|{{sandbox other|| [[Category:Templates using TemplateData]] }}}}</includeonly><!-- --><noinclude>{{Documentation}}</noinclude> ddfbb4ae793846b96d4c06330417fa6ed4da2adc 10 196 1102 2021-08-31T03:12:09Z wikipedia>Izno 0 Protected "[[Template:Citation/styles.css]]": [[WP:High-risk templates|Highly visible template]] ([Edit=Require template editor access] (indefinite) [Move=Require template editor access] (indefinite)) text text/plain /* {{pp|small=y}} */ /* * This page is a convenient place for the "citation" styles that are * available in many of our citation templates. This page can be considered the * authoritative source for those styles. [[Template:Citation]], like all CS1/2 * templates, is styled from [[Module:Citation/CS1/styles.css]], *not* here. */ /* Break long urls, etc., rather than overflowing box */ .citation { word-wrap: break-word; } /* Highlight linked elements (such as clicked references) in blue */ .citation:target { /* ignore the linter - all browsers of interest implement this */ background-color: rgba(0, 127, 255, 0.133); } bacf3990bce8f9ff2b2a21769b624fcedd099d26 10 188 1086 2021-09-04T00:44:14Z wikipedia>Izno 0 use templatestyles for .citation wikitext text/x-wiki <noinclude>{{Distinguish|Template:A note}} </noinclude><templatestyles src="Citation/styles.css"/><span class="citation wikicite" id="endnote_{{{1}}}"><b>[[#ref_{{{1}}}|^{{{2|}}}]]</b>{{#if:{{{3|}}}|&#32;{{{3|}}}}}</span> <noinclude> {{Documentation|Template:Ref/doc}} <!-- Add categories and interwikis to the /doc subpage, not here! --> </noinclude> 3e7c5f334738e9999492f0295e6b3806bd51e921 10 200 1110 2021-09-04T00:44:35Z wikipedia>Izno 0 use templatestyles for .citation wikitext text/x-wiki <templatestyles src="Citation/styles.css"/><span class="citation wikicite" id="{{anchorencode:endnote_{{{1}}}{{{3|}}}}}">{{#if:{{{3|}}} |[[#ref_{{{1}}}{{{3}}}|'''^{{{#ifeq:none|{{{3|none}}} |^ |{{{3|}}} }}}''']] |^{{{2|}}} }}{{#if:{{{4|}}}| {{{4|}}}}}</span> <noinclude> {{Documentation|Template:Ref/doc}} <!-- Add categories and interwikis to the /doc subpage, not here! --> </noinclude> aa5c95efb75b70055c1be163f5fc4df8c5e57faf 828 98 920 2021-09-10T07:46:37Z wikipedia>Johnuniq 0 restore p.getTargetFromText which is used by [[Module:RfD]] which is causing "Lua error in Module:RfD at line 87: attempt to call upvalue 'getTargetFromText' (a nil value)" Scribunto text/plain -- This module provides functions for getting the target of a redirect page. local p = {} -- Gets a mw.title object, using pcall to avoid generating script errors if we -- are over the expensive function count limit (among other possible causes). local function getTitle(...) local success, titleObj = pcall(mw.title.new, ...) if success then return titleObj else return nil end end -- Gets the name of a page that a redirect leads to, or nil if it isn't a -- redirect. function p.getTargetFromText(text) local target = string.match( text, "^%s*#[Rr][Ee][Dd][Ii][Rr][Ee][Cc][Tt]%s*:?%s*%[%[([^%[%]|]-)%]%]" ) or string.match( text, "^%s*#[Rr][Ee][Dd][Ii][Rr][Ee][Cc][Tt]%s*:?%s*%[%[([^%[%]|]-)|[^%[%]]-%]%]" ) return target and mw.uri.decode(target, 'PATH') end -- Gets the target of a redirect. If the page specified is not a redirect, -- returns nil. function p.getTarget(page, fulltext) -- Get the title object. Both page names and title objects are allowed -- as input. local titleObj if type(page) == 'string' or type(page) == 'number' then titleObj = getTitle(page) elseif type(page) == 'table' and type(page.getContent) == 'function' then titleObj = page else error(string.format( "bad argument #1 to 'getTarget'" .. " (string, number, or title object expected, got %s)", type(page) ), 2) end if not titleObj then return nil end local targetTitle = titleObj.redirectTarget if targetTitle then if fulltext then return targetTitle.fullText else return targetTitle.prefixedText end else return nil end end --[[ -- Given a single page name determines what page it redirects to and returns the -- target page name, or the passed page name when not a redirect. The passed -- page name can be given as plain text or as a page link. -- -- Returns page name as plain text, or when the bracket parameter is given, as a -- page link. Returns an error message when page does not exist or the redirect -- target cannot be determined for some reason. --]] function p.luaMain(rname, bracket, fulltext) if type(rname) ~= "string" or not rname:find("%S") then return nil end bracket = bracket and "[[%s]]" or "%s" rname = rname:match("%[%[(.+)%]%]") or rname local target = p.getTarget(rname, fulltext) local ret = target or rname ret = getTitle(ret) if ret then if fulltext then ret = ret.fullText else ret = ret.prefixedText end return bracket:format(ret) else return nil end end -- Provides access to the luaMain function from wikitext. function p.main(frame) local args = require('Module:Arguments').getArgs(frame, {frameOnly = true}) return p.luaMain(args[1], args.bracket, args.fulltext) or '' end -- Returns true if the specified page is a redirect, and false otherwise. function p.luaIsRedirect(page) local titleObj = getTitle(page) if not titleObj then return false end if titleObj.isRedirect then return true else return false end end -- Provides access to the luaIsRedirect function from wikitext, returning 'yes' -- if the specified page is a redirect, and the blank string otherwise. function p.isRedirect(frame) local args = require('Module:Arguments').getArgs(frame, {frameOnly = true}) if p.luaIsRedirect(args[1]) then return 'yes' else return '' end end return p a224c45940343d66f49a78b0a39b2045e2c45d20 10 209 1128 2021-09-28T03:51:31Z wikipedia>MusikBot II 0 Protected "[[Template:Wikipedia referencing]]": [[Wikipedia:High-risk templates|High-risk template or module]]: 422 transclusions ([[User:MusikBot II/TemplateProtector|more info]]) ([Edit=Require autoconfirmed or confirmed access] (indefinite)) wikitext text/x-wiki {{navbox | name = Wikipedia referencing | state = {{{state<includeonly>|{{{1|autocollapse}}}</includeonly>}}} | bodyclass = hlist | title = [[Wikipedia:Verifiability|Wikipedia referencing]] | group1 = Policies and guidelines | list1 = * [[Wikipedia:Verifiability|Verifiability]] * [[Wikipedia:No original research|No original research]] * [[Wikipedia:Biographies of living persons|Biographies of living persons]] * [[Wikipedia:Reliable sources|Reliable sources]] ** [[Wikipedia:Identifying reliable sources (medicine)|Medicine]] * [[Wikipedia:Citing sources|Citing sources]] * [[Wikipedia:Scientific citation guidelines|Scientific citations]] | group2 = General advice | list2 = * [[Wikipedia:Citation needed|Citation needed]] * [[Help:Find sources|Find sources]] * [[Wikipedia:Combining sources|Combining sources]] * [[Wikipedia:Offline sources|Offline sources]] * [[Help:Overview of referencing styles|Referencing styles]] | group3 = [[Wikipedia:Citing sources|Citing sources]] | list3 = * [[Help:Citation Style 1|Citation Style 1]] * [[Help:Citation Style 2|Citation Style 2]] * [[Help:Citation Style Vancouver|Citation Style Vancouver]] * [[:Category:LSA style citation templates|LSA]] * [[:Category:Comics citation templates|Comics]] * [[Wikipedia:Citation templates|Citation templates]] * [[Template:Reflist|Reflist template]] | group4 = [[Wikipedia:Inline citation|Inline citations]] | list4 = * [[Help:Footnotes|Footnotes]] * [[Wikipedia:Manual of Style#Punctuation and footnotes|Punctuation and footnotes]] * [[Help:Shortened footnotes|Shortened footnotes]] * [[Wikipedia:Nesting footnotes|Nesting footnotes]] | group5 = [[Help:Referencing for beginners|Help for beginners]] | list5 = * [[Help:Reftags|Reference-tags]] * [[Help:Citations quick reference|Citations quick reference]] * [[Help:Introduction to referencing with Wiki Markup/1|Introduction to referencing]] * [[Help:Referencing for beginners with citation templates|Referencing with citation templates]] * [[Help:Referencing for beginners without using templates|Referencing without using templates]] * [[Wikipedia:References dos and don'ts|Referencing dos and don'ts]] * [[Wikipedia:Citing Wikipedia|Citing Wikipedia]] | group6 = Advanced help | list6 = * [[Help:Cite link labels|Cite link labels]] * [[Help:Citation tools|Citation tools]] * [[Help:Cite errors|Cite errors]] * [[Help:Cite messages|Cite messages]] * [[Help:Converting between references formats|Converting between references formats]] * [[Help:Reference display customization|Reference display customization]] * [[Help:References and page numbers|References and page numbers]] * [[Wikipedia:Guidance on source reviewing at FAC|Guidance on source reviewing at FAC]] | group7 = Template documentation | list7 = * {{tl|Edit refs}} * {{tl|Refref}} * {{tl|Refref2}} * {{tl|Refstart}} | group8 = Tools | list8 = * [[Wikipedia:The Wikipedia Library|Wikipedia Library]] | group9 = [[Deprecation|Deprecated]] | list9 = * [[Wikipedia:Parenthetical referencing|Parenthetical referencing]] }}<noinclude> {{Documentation}} </noinclude> f7f6e9d798b1d51bdca2dd3a3b6e8e2f7518ef7a 828 99 922 2021-10-08T18:22:16Z wikipedia>Trappist the monk 0 sync from sandbox; see [[Module_talk:Unsubst#template_invocation_name_override|talk]]; Scribunto text/plain local checkType = require('libraryUtil').checkType local p = {} local BODY_PARAM = '$B' local specialParams = { ['$params'] = 'parameter list', ['$aliases'] = 'parameter aliases', ['$flags'] = 'flags', ['$B'] = 'template content', ['$template-name'] = 'template invocation name override', } function p.main(frame, body) -- If we are substing, this function returns a template invocation, and if -- not, it returns the template body. The template body can be specified in -- the body parameter, or in the template parameter defined in the -- BODY_PARAM variable. This function can be called from Lua or from -- #invoke. -- Return the template body if we aren't substing. if not mw.isSubsting() then if body ~= nil then return body elseif frame.args[BODY_PARAM] ~= nil then return frame.args[BODY_PARAM] else error(string.format( "no template content specified (use parameter '%s' from #invoke)", BODY_PARAM ), 2) end end -- Sanity check for the frame object. if type(frame) ~= 'table' or type(frame.getParent) ~= 'function' or not frame:getParent() then error( "argument #1 to 'main' must be a frame object with a parent " .. "frame available", 2 ) end -- Find the invocation name. local mTemplateInvocation = require('Module:Template invocation') local name if frame.args['$template-name'] and '' ~= frame.args['$template-name'] then name = frame.args['$template-name'] -- override whatever the template name is with this name else name = mTemplateInvocation.name(frame:getParent():getTitle()) end -- Combine passed args with passed defaults local args = {} if string.find( ','..(frame.args['$flags'] or '')..',', ',%s*override%s*,' ) then for k, v in pairs( frame:getParent().args ) do args[k] = v end for k, v in pairs( frame.args ) do if not specialParams[k] then if v == '__DATE__' then v = mw.getContentLanguage():formatDate( 'F Y' ) end args[k] = v end end else for k, v in pairs( frame.args ) do if not specialParams[k] then if v == '__DATE__' then v = mw.getContentLanguage():formatDate( 'F Y' ) end args[k] = v end end for k, v in pairs( frame:getParent().args ) do args[k] = v end end -- Trim parameters, if not specified otherwise if not string.find( ','..(frame.args['$flags'] or '')..',', ',%s*keep%-whitespace%s*,' ) then for k, v in pairs( args ) do args[k] = mw.ustring.match(v, '^%s*(.*)%s*$') or '' end end -- Pull information from parameter aliases local aliases = {} if frame.args['$aliases'] then local list = mw.text.split( frame.args['$aliases'], '%s*,%s*' ) for k, v in ipairs( list ) do local tmp = mw.text.split( v, '%s*>%s*' ) aliases[tonumber(mw.ustring.match(tmp[1], '^[1-9][0-9]*$')) or tmp[1]] = ((tonumber(mw.ustring.match(tmp[2], '^[1-9][0-9]*$'))) or tmp[2]) end end for k, v in pairs( aliases ) do if args[k] and ( not args[v] or args[v] == '' ) then args[v] = args[k] end args[k] = nil end -- Remove empty parameters, if specified if string.find( ','..(frame.args['$flags'] or '')..',', ',%s*remove%-empty%s*,' ) then local tmp = 0 for k, v in ipairs( args ) do if v ~= '' or ( args[k+1] and args[k+1] ~= '' ) or ( args[k+2] and args[k+2] ~= '' ) then tmp = k else break end end for k, v in pairs( args ) do if v == '' then if not (type(k) == 'number' and k < tmp) then args[k] = nil end end end end -- Order parameters if frame.args['$params'] then local params, tmp = mw.text.split( frame.args['$params'], '%s*,%s*' ), {} for k, v in ipairs(params) do v = tonumber(mw.ustring.match(v, '^[1-9][0-9]*$')) or v if args[v] then tmp[v], args[v] = args[v], nil end end for k, v in pairs(args) do tmp[k], args[k] = args[k], nil end args = tmp end return mTemplateInvocation.invocation(name, args) end p[''] = p.main -- For backwards compatibility return p 7f01ffc8aa2ac4a4772f14c12e0b77e384ecabb6 10 167 1048 2021-10-23T01:55:11Z wikipedia>JJMC89 bot III 0 Merging [[:Category:Magic word templates]] to [[:Category:Wikipedia magic word templates]] per [[Wikipedia:Categories for discussion/Log/2021 September 25#Category:Magic word templates]] wikitext text/x-wiki {{<includeonly>safesubst:</includeonly>CURRENTMONTHNAME}}<noinclude> {{Documentation|link box=off|content=This template exists for people who use incorrect capitalization of the [[Help:Magic words|magic word]] <nowiki>{{CURRENTMONTHNAME}}</nowiki>. The magic word should be used in preference to this template. {{Calendar, clock, date and time computing templates}} }} [[Category:Wikipedia magic word templates]] </noinclude> 379b3b08a9f9924b377e2d05e140660f8d6bb195 10 162 1040 2021-10-23T01:55:13Z wikipedia>JJMC89 bot III 0 Merging [[:Category:Magic word templates]] to [[:Category:Wikipedia magic word templates]] per [[Wikipedia:Categories for discussion/Log/2021 September 25#Category:Magic word templates]] wikitext text/x-wiki {{<includeonly>safesubst:</includeonly>CURRENTYEAR}}<noinclude> {{Documentation|link box=off|content=This template exists for people who use incorrect capitalization of the [[Help:Magic words|magic word]] <nowiki>{{CURRENTYEAR}}</nowiki>. The magic word should be used in preference to this template. ==See also== *{{Tl|Year needed}}}} [[Category:Wikipedia magic word templates]] </noinclude> 63d64ad31b7a20fa132866ee4ae1b8111e469832 10 208 1126 2021-10-25T18:34:55Z wikipedia>GKFX 0 Carry out edit request by [[User:DesertPipeline]] from [[Template talk:Fake heading]]. wikitext text/x-wiki {{main other |1={{error|Per [[WP:PSEUDOHEADING]] fake headings should not be used in articles.}}[[Category:Pages with templates in the wrong namespace]] |2=<div style="color: #000000; background: none; overflow: hidden; page-break-after: avoid; {{#switch: {{{level|{{{sub|}}}}}} | 1 = font-size: 1.8em; font-family: 'Linux Libertine',Georgia,Times,serif; margin-top: 1em; margin-bottom: 0.25em; line-height: 1.3; padding: 0; border-bottom: 1px solid #AAAAAA; | 2 | #default = font-size: 1.5em; font-family: 'Linux Libertine',Georgia,Times,serif; margin-top: 1em; margin-bottom: 0.25em; line-height: 1.3; padding: 0; border-bottom: 1px solid #AAAAAA; | 3 = font-size: 1.17em; font-weight: bold; margin-top: 0.3em; margin-bottom: 0; line-height: 1.6; padding-top: 0.5em; padding-bottom: 0; | 4 = font-size: 100%; font-weight: bold; margin-top: 0.3em; margin-bottom: 0; line-height: 1.6; padding-top: 0.5em; padding-bottom: 0; | 5 = font-size: 100%; font-weight: bold; margin-top: 0.3em; margin-bottom: 0; line-height: 1.6; padding-top: 0.5em; padding-bottom: 0; | 6 = font-size: 100%; font-weight: bold; margin-top: 0.3em; margin-bottom: 0; line-height: 1.6; padding-top: 0.5em; padding-bottom: 0; }}">{{{1|Section}}}</div>}}<noinclude> {{documentation}} <!-- Categories go on the /doc subpage and interwikis go on Wikidata. --> </noinclude> 8e1e8edde45ee6c22d12ef7a33e2eea83e1d5ac2 10 103 930 2021-12-10T16:08:06Z wikipedia>Xaosflux 0 <!-- Add categories to the /doc subpage; interwikis go to Wikidata, thank you! --> wikitext text/x-wiki {{#switch: <!--If no or empty "demospace" parameter then detect namespace--> {{#if:{{{demospace|}}} | {{lc: {{{demospace}}} }} <!--Use lower case "demospace"--> | {{#ifeq:{{NAMESPACE}}|{{ns:0}} | main | other }} }} | main = {{{1|}}} | other | #default = {{{2|}}} }}<noinclude> {{documentation}} <!-- Add categories to the /doc subpage; interwikis go to Wikidata, thank you! --> </noinclude> 86ad907ffeea3cc545159e00cd1f2d6433946450 828 137 998 2021-12-21T22:10:10Z wikipedia>Izno 0 remove qualifications on th - this will remove styling from "hand-crafted" navboxes, but there's no other elegant way to deal with it. see talk page text text/plain /* {{pp|small=y}} */ .navbox { box-sizing: border-box; border: 1px solid #a2a9b1; width: 100%; clear: both; font-size: 88%; text-align: center; padding: 1px; margin: 1em auto 0; /* Prevent preceding content from clinging to navboxes */ } .navbox .navbox { margin-top: 0; /* No top margin for nested navboxes */ } .navbox + .navbox, /* TODO: remove first line after transclusions have updated */ .navbox + .navbox-styles + .navbox { margin-top: -1px; /* Single pixel border between adjacent navboxes */ } .navbox-inner, .navbox-subgroup { width: 100%; } .navbox-group, .navbox-title, .navbox-abovebelow { padding: 0.25em 1em; line-height: 1.5em; text-align: center; } .navbox-group { white-space: nowrap; /* @noflip */ text-align: right; } .navbox, .navbox-subgroup { background-color: #fdfdfd; } .navbox-list { line-height: 1.5em; border-color: #fdfdfd; /* Must match background color */ } .navbox-list-with-group { text-align: left; border-left-width: 2px; border-left-style: solid; } /* cell spacing for navbox cells */ /* Borders above 2nd, 3rd, etc. rows */ /* TODO: figure out how to replace tr as structure; * with div structure it should be just a matter of first-child */ tr + tr > .navbox-abovebelow, tr + tr > .navbox-group, tr + tr > .navbox-image, tr + tr > .navbox-list { border-top: 2px solid #fdfdfd; /* Must match background color */ } .navbox-title { background-color: #ccf; /* Level 1 color */ } .navbox-abovebelow, .navbox-group, .navbox-subgroup .navbox-title { background-color: #ddf; /* Level 2 color */ } .navbox-subgroup .navbox-group, .navbox-subgroup .navbox-abovebelow { background-color: #e6e6ff; /* Level 3 color */ } .navbox-even { background-color: #f7f7f7; } .navbox-odd { background-color: transparent; } /* TODO: figure out how to remove reliance on td as structure */ .navbox .hlist td dl, .navbox .hlist td ol, .navbox .hlist td ul, .navbox td.hlist dl, .navbox td.hlist ol, .navbox td.hlist ul { padding: 0.125em 0; } .navbox .navbar { display: block; font-size: 100%; } .navbox-title .navbar { /* @noflip */ float: left; /* @noflip */ text-align: left; /* @noflip */ margin-right: 0.5em; } e80b0d7a5770e6e105dab832deb6c37a5245ebc6 10 195 1100 2021-12-21T22:10:10Z wikipedia>Izno 0 remove qualifications on th - this will remove styling from "hand-crafted" navboxes, but there's no other elegant way to deal with it. see talk page text text/plain /* {{pp|small=y}} */ .navbox { box-sizing: border-box; border: 1px solid #a2a9b1; width: 100%; clear: both; font-size: 88%; text-align: center; padding: 1px; margin: 1em auto 0; /* Prevent preceding content from clinging to navboxes */ } .navbox .navbox { margin-top: 0; /* No top margin for nested navboxes */ } .navbox + .navbox, /* TODO: remove first line after transclusions have updated */ .navbox + .navbox-styles + .navbox { margin-top: -1px; /* Single pixel border between adjacent navboxes */ } .navbox-inner, .navbox-subgroup { width: 100%; } .navbox-group, .navbox-title, .navbox-abovebelow { padding: 0.25em 1em; line-height: 1.5em; text-align: center; } .navbox-group { white-space: nowrap; /* @noflip */ text-align: right; } .navbox, .navbox-subgroup { background-color: #fdfdfd; } .navbox-list { line-height: 1.5em; border-color: #fdfdfd; /* Must match background color */ } .navbox-list-with-group { text-align: left; border-left-width: 2px; border-left-style: solid; } /* cell spacing for navbox cells */ /* Borders above 2nd, 3rd, etc. rows */ /* TODO: figure out how to replace tr as structure; * with div structure it should be just a matter of first-child */ tr + tr > .navbox-abovebelow, tr + tr > .navbox-group, tr + tr > .navbox-image, tr + tr > .navbox-list { border-top: 2px solid #fdfdfd; /* Must match background color */ } .navbox-title { background-color: #ccf; /* Level 1 color */ } .navbox-abovebelow, .navbox-group, .navbox-subgroup .navbox-title { background-color: #ddf; /* Level 2 color */ } .navbox-subgroup .navbox-group, .navbox-subgroup .navbox-abovebelow { background-color: #e6e6ff; /* Level 3 color */ } .navbox-even { background-color: #f7f7f7; } .navbox-odd { background-color: transparent; } /* TODO: figure out how to remove reliance on td as structure */ .navbox .hlist td dl, .navbox .hlist td ol, .navbox .hlist td ul, .navbox td.hlist dl, .navbox td.hlist ol, .navbox td.hlist ul { padding: 0.125em 0; } .navbox .navbar { display: block; font-size: 100%; } .navbox-title .navbar { /* @noflip */ float: left; /* @noflip */ text-align: left; /* @noflip */ margin-right: 0.5em; } e80b0d7a5770e6e105dab832deb6c37a5245ebc6 828 129 982 2021-12-26T20:05:24Z wikipedia>Nihiltres 0 Undid revision 1062166786 by [[Special:Contributions/Matthiaspaul|Matthiaspaul]] ([[User talk:Matthiaspaul|talk]]); should be fixed now, and if not, please ping me with examples as I couldn't reproduce the original error Scribunto text/plain -------------------------------------------------------------------------------- -- Module:Hatnote list -- -- -- -- This module produces and formats lists for use in hatnotes. In particular, -- -- it implements the for-see list, i.e. lists of "For X, see Y" statements, -- -- as used in {{about}}, {{redirect}}, and their variants. Also introduced -- -- are andList & orList helpers for formatting lists with those conjunctions. -- -------------------------------------------------------------------------------- local mArguments --initialize lazily local mFormatLink = require('Module:Format link') local mHatnote = require('Module:Hatnote') local libraryUtil = require('libraryUtil') local checkType = libraryUtil.checkType local p = {} -------------------------------------------------------------------------------- -- List stringification helper functions -- -- These functions are used for stringifying lists, usually page lists inside -- the "Y" portion of "For X, see Y" for-see items. -------------------------------------------------------------------------------- --default options table used across the list stringification functions local stringifyListDefaultOptions = { conjunction = "and", separator = ",", altSeparator = ";", space = " ", formatted = false } --Searches display text only local function searchDisp(haystack, needle) return string.find( string.sub(haystack, (string.find(haystack, '|') or 0) + 1), needle ) end -- Stringifies a list generically; probably shouldn't be used directly local function stringifyList(list, options) -- Type-checks, defaults, and a shortcut checkType("stringifyList", 1, list, "table") if #list == 0 then return nil end checkType("stringifyList", 2, options, "table", true) options = options or {} for k, v in pairs(stringifyListDefaultOptions) do if options[k] == nil then options[k] = v end end local s = options.space -- Format the list if requested if options.formatted then list = mFormatLink.formatPages( {categorizeMissing = mHatnote.missingTargetCat}, list ) end -- Set the separator; if any item contains it, use the alternate separator local separator = options.separator for k, v in pairs(list) do if searchDisp(v, separator) then separator = options.altSeparator break end end -- Set the conjunction, apply Oxford comma, and force a comma if #1 has "§" local conjunction = s .. options.conjunction .. s if #list == 2 and searchDisp(list[1], "§") or #list > 2 then conjunction = separator .. conjunction end -- Return the formatted string return mw.text.listToText(list, separator .. s, conjunction) end --DRY function function p.conjList (conj, list, fmt) return stringifyList(list, {conjunction = conj, formatted = fmt}) end -- Stringifies lists with "and" or "or" function p.andList (...) return p.conjList("and", ...) end function p.orList (...) return p.conjList("or", ...) end -------------------------------------------------------------------------------- -- For see -- -- Makes a "For X, see [[Y]]." list from raw parameters. Intended for the -- {{about}} and {{redirect}} templates and their variants. -------------------------------------------------------------------------------- --default options table used across the forSee family of functions local forSeeDefaultOptions = { andKeyword = 'and', title = mw.title.getCurrentTitle().text, otherText = 'other uses', forSeeForm = 'For %s, see %s.', } --Collapses duplicate punctuation local function punctuationCollapse (text) local replacements = { ["%.%.$"] = ".", ["%?%.$"] = "?", ["%!%.$"] = "!", ["%.%]%]%.$"] = ".]]", ["%?%]%]%.$"] = "?]]", ["%!%]%]%.$"] = "!]]" } for k, v in pairs(replacements) do text = string.gsub(text, k, v) end return text end -- Structures arguments into a table for stringification, & options function p.forSeeArgsToTable (args, from, options) -- Type-checks and defaults checkType("forSeeArgsToTable", 1, args, 'table') checkType("forSeeArgsToTable", 2, from, 'number', true) from = from or 1 checkType("forSeeArgsToTable", 3, options, 'table', true) options = options or {} for k, v in pairs(forSeeDefaultOptions) do if options[k] == nil then options[k] = v end end -- maxArg's gotten manually because getArgs() and table.maxn aren't friends local maxArg = 0 for k, v in pairs(args) do if type(k) == 'number' and k > maxArg then maxArg = k end end -- Structure the data out from the parameter list: -- * forTable is the wrapper table, with forRow rows -- * Rows are tables of a "use" string & a "pages" table of pagename strings -- * Blanks are left empty for defaulting elsewhere, but can terminate list local forTable = {} local i = from local terminated = false -- If there is extra text, and no arguments are given, give nil value -- to not produce default of "For other uses, see foo (disambiguation)" if options.extratext and i > maxArg then return nil end -- Loop to generate rows repeat -- New empty row local forRow = {} -- On blank use, assume list's ended & break at end of this loop forRow.use = args[i] if not args[i] then terminated = true end -- New empty list of pages forRow.pages = {} -- Insert first pages item if present table.insert(forRow.pages, args[i + 1]) -- If the param after next is "and", do inner loop to collect params -- until the "and"'s stop. Blanks are ignored: "1|and||and|3" → {1, 3} while args[i + 2] == options.andKeyword do if args[i + 3] then table.insert(forRow.pages, args[i + 3]) end -- Increment to next "and" i = i + 2 end -- Increment to next use i = i + 2 -- Append the row table.insert(forTable, forRow) until terminated or i > maxArg return forTable end -- Stringifies a table as formatted by forSeeArgsToTable function p.forSeeTableToString (forSeeTable, options) -- Type-checks and defaults checkType("forSeeTableToString", 1, forSeeTable, "table", true) checkType("forSeeTableToString", 2, options, "table", true) options = options or {} for k, v in pairs(forSeeDefaultOptions) do if options[k] == nil then options[k] = v end end -- Stringify each for-see item into a list local strList = {} if forSeeTable then for k, v in pairs(forSeeTable) do local useStr = v.use or options.otherText local pagesStr = p.andList(v.pages, true) or mFormatLink._formatLink{ categorizeMissing = mHatnote.missingTargetCat, link = mHatnote.disambiguate(options.title) } local forSeeStr = string.format(options.forSeeForm, useStr, pagesStr) forSeeStr = punctuationCollapse(forSeeStr) table.insert(strList, forSeeStr) end end if options.extratext then table.insert(strList, punctuationCollapse(options.extratext..'.')) end -- Return the concatenated list return table.concat(strList, ' ') end -- Produces a "For X, see [[Y]]" string from arguments. Expects index gaps -- but not blank/whitespace values. Ignores named args and args < "from". function p._forSee (args, from, options) local forSeeTable = p.forSeeArgsToTable(args, from, options) return p.forSeeTableToString(forSeeTable, options) end -- As _forSee, but uses the frame. function p.forSee (frame, from, options) mArguments = require('Module:Arguments') return p._forSee(mArguments.getArgs(frame), from, options) end return p d0828422b1aa0d0d0092d699d059c9e882260398 10 149 1020 2022-01-02T09:07:18Z wikipedia>Dinoguy1000 0 fix "|=foo" bug wikitext text/x-wiki {{safesubst:<noinclude/>#if: {{safesubst:<noinclude/>#invoke:Redirect|isRedirect|{{{1}}}}} | <span class="plainlinks">[{{safesubst:<noinclude/>fullurl:{{{1}}}|redirect=no}} {{{2|{{{1}}}}}}]</span> | {{safesubst:<noinclude/>#if:{{{2|}}}|[[:{{safesubst:<noinclude/>FULLPAGENAME:{{{1}}}}}|{{{2}}}]]|[[:{{safesubst:<noinclude/>FULLPAGENAME:{{{1}}}}}]]}} }}<noinclude> {{documentation}} </noinclude> 1760035b1bed54ee08b810208ed3551b812dfe13 828 134 992 2022-01-03T23:12:15Z wikipedia>Izno 0 navbar styles that were moved to parent templates text text/plain /* {{pp|small=yes}} */ .navbar { display: inline; font-size: 88%; font-weight: normal; } .navbar-collapse { float: left; text-align: left; } .navbar-boxtext { word-spacing: 0; } .navbar ul { display: inline-block; white-space: nowrap; line-height: inherit; } .navbar-brackets::before { margin-right: -0.125em; content: '[ '; } .navbar-brackets::after { margin-left: -0.125em; content: ' ]'; } .navbar li { word-spacing: -0.125em; } .navbar a > span, .navbar a > abbr { text-decoration: inherit; } .navbar-mini abbr { font-variant: small-caps; border-bottom: none; text-decoration: none; cursor: inherit; } .navbar-ct-full { font-size: 114%; margin: 0 7em; } .navbar-ct-mini { font-size: 114%; margin: 0 4em; } 9d4056f949b4f0b159e3d40dfb1a5f01e72f9571 10 194 1098 2022-01-03T23:12:15Z wikipedia>Izno 0 navbar styles that were moved to parent templates text text/plain /* {{pp|small=yes}} */ .navbar { display: inline; font-size: 88%; font-weight: normal; } .navbar-collapse { float: left; text-align: left; } .navbar-boxtext { word-spacing: 0; } .navbar ul { display: inline-block; white-space: nowrap; line-height: inherit; } .navbar-brackets::before { margin-right: -0.125em; content: '[ '; } .navbar-brackets::after { margin-left: -0.125em; content: ' ]'; } .navbar li { word-spacing: -0.125em; } .navbar a > span, .navbar a > abbr { text-decoration: inherit; } .navbar-mini abbr { font-variant: small-caps; border-bottom: none; text-decoration: none; cursor: inherit; } .navbar-ct-full { font-size: 114%; margin: 0 7em; } .navbar-ct-mini { font-size: 114%; margin: 0 4em; } 9d4056f949b4f0b159e3d40dfb1a5f01e72f9571 10 165 1046 2022-01-08T08:19:58Z wikipedia>Hike395 0 now implemented in [[Module:Icon]] wikitext text/x-wiki {{#invoke:icon|link}}<noinclude> {{Documentation}} </noinclude> 90afb0510293127899a02e9a7e0c277c862ce4eb 828 153 1028 2022-01-25T23:46:11Z wikipedia>Ianblair23 0 link Scribunto text/plain ---------------------------------------------------------------------------------------------------- -- -- Configuration for Module:Documentation -- -- Here you can set the values of the parameters and messages used in Module:Documentation to -- localise it to your wiki and your language. Unless specified otherwise, values given here -- should be string values. ---------------------------------------------------------------------------------------------------- local cfg = {} -- Do not edit this line. ---------------------------------------------------------------------------------------------------- -- Protection template configuration ---------------------------------------------------------------------------------------------------- -- cfg['protection-reason-edit'] -- The protection reason for edit-protected templates to pass to -- [[Module:Protection banner]]. cfg['protection-reason-edit'] = 'template' --[[ ---------------------------------------------------------------------------------------------------- -- Sandbox notice configuration -- -- On sandbox pages the module can display a template notifying users that the current page is a -- sandbox, and the location of test cases pages, etc. The module decides whether the page is a -- sandbox or not based on the value of cfg['sandbox-subpage']. The following settings configure the -- messages that the notices contains. ---------------------------------------------------------------------------------------------------- --]] -- cfg['sandbox-notice-image'] -- The image displayed in the sandbox notice. cfg['sandbox-notice-image'] = '[[File:Sandbox.svg|50px|alt=|link=]]' --[[ -- cfg['sandbox-notice-pagetype-template'] -- cfg['sandbox-notice-pagetype-module'] -- cfg['sandbox-notice-pagetype-other'] -- The page type of the sandbox page. The message that is displayed depends on the current subject -- namespace. This message is used in either cfg['sandbox-notice-blurb'] or -- cfg['sandbox-notice-diff-blurb']. --]] cfg['sandbox-notice-pagetype-template'] = '[[Wikipedia:Template test cases|template sandbox]] page' cfg['sandbox-notice-pagetype-module'] = '[[Wikipedia:Template test cases|module sandbox]] page' cfg['sandbox-notice-pagetype-other'] = 'sandbox page' --[[ -- cfg['sandbox-notice-blurb'] -- cfg['sandbox-notice-diff-blurb'] -- cfg['sandbox-notice-diff-display'] -- Either cfg['sandbox-notice-blurb'] or cfg['sandbox-notice-diff-blurb'] is the opening sentence -- of the sandbox notice. The latter has a diff link, but the former does not. $1 is the page -- type, which is either cfg['sandbox-notice-pagetype-template'], -- cfg['sandbox-notice-pagetype-module'] or cfg['sandbox-notice-pagetype-other'] depending what -- namespace we are in. $2 is a link to the main template page, and $3 is a diff link between -- the sandbox and the main template. The display value of the diff link is set by -- cfg['sandbox-notice-compare-link-display']. --]] cfg['sandbox-notice-blurb'] = 'This is the $1 for $2.' cfg['sandbox-notice-diff-blurb'] = 'This is the $1 for $2 ($3).' cfg['sandbox-notice-compare-link-display'] = 'diff' --[[ -- cfg['sandbox-notice-testcases-blurb'] -- cfg['sandbox-notice-testcases-link-display'] -- cfg['sandbox-notice-testcases-run-blurb'] -- cfg['sandbox-notice-testcases-run-link-display'] -- cfg['sandbox-notice-testcases-blurb'] is a sentence notifying the user that there is a test cases page -- corresponding to this sandbox that they can edit. $1 is a link to the test cases page. -- cfg['sandbox-notice-testcases-link-display'] is the display value for that link. -- cfg['sandbox-notice-testcases-run-blurb'] is a sentence notifying the user that there is a test cases page -- corresponding to this sandbox that they can edit, along with a link to run it. $1 is a link to the test -- cases page, and $2 is a link to the page to run it. -- cfg['sandbox-notice-testcases-run-link-display'] is the display value for the link to run the test -- cases. --]] cfg['sandbox-notice-testcases-blurb'] = 'See also the companion subpage for $1.' cfg['sandbox-notice-testcases-link-display'] = 'test cases' cfg['sandbox-notice-testcases-run-blurb'] = 'See also the companion subpage for $1 ($2).' cfg['sandbox-notice-testcases-run-link-display'] = 'run' -- cfg['sandbox-category'] -- A category to add to all template sandboxes. cfg['sandbox-category'] = 'Template sandboxes' ---------------------------------------------------------------------------------------------------- -- Start box configuration ---------------------------------------------------------------------------------------------------- -- cfg['documentation-icon-wikitext'] -- The wikitext for the icon shown at the top of the template. cfg['documentation-icon-wikitext'] = '[[File:Test Template Info-Icon - Version (2).svg|50px|link=|alt=]]' -- cfg['template-namespace-heading'] -- The heading shown in the template namespace. cfg['template-namespace-heading'] = 'Template documentation' -- cfg['module-namespace-heading'] -- The heading shown in the module namespace. cfg['module-namespace-heading'] = 'Module documentation' -- cfg['file-namespace-heading'] -- The heading shown in the file namespace. cfg['file-namespace-heading'] = 'Summary' -- cfg['other-namespaces-heading'] -- The heading shown in other namespaces. cfg['other-namespaces-heading'] = 'Documentation' -- cfg['view-link-display'] -- The text to display for "view" links. cfg['view-link-display'] = 'view' -- cfg['edit-link-display'] -- The text to display for "edit" links. cfg['edit-link-display'] = 'edit' -- cfg['history-link-display'] -- The text to display for "history" links. cfg['history-link-display'] = 'history' -- cfg['purge-link-display'] -- The text to display for "purge" links. cfg['purge-link-display'] = 'purge' -- cfg['create-link-display'] -- The text to display for "create" links. cfg['create-link-display'] = 'create' ---------------------------------------------------------------------------------------------------- -- Link box (end box) configuration ---------------------------------------------------------------------------------------------------- -- cfg['transcluded-from-blurb'] -- Notice displayed when the docs are transcluded from another page. $1 is a wikilink to that page. cfg['transcluded-from-blurb'] = 'The above [[Wikipedia:Template documentation|documentation]] is [[Help:Transclusion|transcluded]] from $1.' --[[ -- cfg['create-module-doc-blurb'] -- Notice displayed in the module namespace when the documentation subpage does not exist. -- $1 is a link to create the documentation page with the preload cfg['module-preload'] and the -- display cfg['create-link-display']. --]] cfg['create-module-doc-blurb'] = 'You might want to $1 a documentation page for this [[Wikipedia:Lua|Scribunto module]].' ---------------------------------------------------------------------------------------------------- -- Experiment blurb configuration ---------------------------------------------------------------------------------------------------- --[[ -- cfg['experiment-blurb-template'] -- cfg['experiment-blurb-module'] -- The experiment blurb is the text inviting editors to experiment in sandbox and test cases pages. -- It is only shown in the template and module namespaces. With the default English settings, it -- might look like this: -- -- Editors can experiment in this template's sandbox (edit | diff) and testcases (edit) pages. -- -- In this example, "sandbox", "edit", "diff", "testcases", and "edit" would all be links. -- -- There are two versions, cfg['experiment-blurb-template'] and cfg['experiment-blurb-module'], depending -- on what namespace we are in. -- -- Parameters: -- -- $1 is a link to the sandbox page. If the sandbox exists, it is in the following format: -- -- cfg['sandbox-link-display'] (cfg['sandbox-edit-link-display'] | cfg['compare-link-display']) -- -- If the sandbox doesn't exist, it is in the format: -- -- cfg['sandbox-link-display'] (cfg['sandbox-create-link-display'] | cfg['mirror-link-display']) -- -- The link for cfg['sandbox-create-link-display'] link preloads the page with cfg['template-sandbox-preload'] -- or cfg['module-sandbox-preload'], depending on the current namespace. The link for cfg['mirror-link-display'] -- loads a default edit summary of cfg['mirror-edit-summary']. -- -- $2 is a link to the test cases page. If the test cases page exists, it is in the following format: -- -- cfg['testcases-link-display'] (cfg['testcases-edit-link-display'] | cfg['testcases-run-link-display']) -- -- If the test cases page doesn't exist, it is in the format: -- -- cfg['testcases-link-display'] (cfg['testcases-create-link-display']) -- -- If the test cases page doesn't exist, the link for cfg['testcases-create-link-display'] preloads the -- page with cfg['template-testcases-preload'] or cfg['module-testcases-preload'], depending on the current -- namespace. --]] cfg['experiment-blurb-template'] = "Editors can experiment in this template's $1 and $2 pages." cfg['experiment-blurb-module'] = "Editors can experiment in this module's $1 and $2 pages." ---------------------------------------------------------------------------------------------------- -- Sandbox link configuration ---------------------------------------------------------------------------------------------------- -- cfg['sandbox-subpage'] -- The name of the template subpage typically used for sandboxes. cfg['sandbox-subpage'] = 'sandbox' -- cfg['template-sandbox-preload'] -- Preload file for template sandbox pages. cfg['template-sandbox-preload'] = 'Template:Documentation/preload-sandbox' -- cfg['module-sandbox-preload'] -- Preload file for Lua module sandbox pages. cfg['module-sandbox-preload'] = 'Template:Documentation/preload-module-sandbox' -- cfg['sandbox-link-display'] -- The text to display for "sandbox" links. cfg['sandbox-link-display'] = 'sandbox' -- cfg['sandbox-edit-link-display'] -- The text to display for sandbox "edit" links. cfg['sandbox-edit-link-display'] = 'edit' -- cfg['sandbox-create-link-display'] -- The text to display for sandbox "create" links. cfg['sandbox-create-link-display'] = 'create' -- cfg['compare-link-display'] -- The text to display for "compare" links. cfg['compare-link-display'] = 'diff' -- cfg['mirror-edit-summary'] -- The default edit summary to use when a user clicks the "mirror" link. $1 is a wikilink to the -- template page. cfg['mirror-edit-summary'] = 'Create sandbox version of $1' -- cfg['mirror-link-display'] -- The text to display for "mirror" links. cfg['mirror-link-display'] = 'mirror' -- cfg['mirror-link-preload'] -- The page to preload when a user clicks the "mirror" link. cfg['mirror-link-preload'] = 'Template:Documentation/mirror' ---------------------------------------------------------------------------------------------------- -- Test cases link configuration ---------------------------------------------------------------------------------------------------- -- cfg['testcases-subpage'] -- The name of the template subpage typically used for test cases. cfg['testcases-subpage'] = 'testcases' -- cfg['template-testcases-preload'] -- Preload file for template test cases pages. cfg['template-testcases-preload'] = 'Template:Documentation/preload-testcases' -- cfg['module-testcases-preload'] -- Preload file for Lua module test cases pages. cfg['module-testcases-preload'] = 'Template:Documentation/preload-module-testcases' -- cfg['testcases-link-display'] -- The text to display for "testcases" links. cfg['testcases-link-display'] = 'testcases' -- cfg['testcases-edit-link-display'] -- The text to display for test cases "edit" links. cfg['testcases-edit-link-display'] = 'edit' -- cfg['testcases-run-link-display'] -- The text to display for test cases "run" links. cfg['testcases-run-link-display'] = 'run' -- cfg['testcases-create-link-display'] -- The text to display for test cases "create" links. cfg['testcases-create-link-display'] = 'create' ---------------------------------------------------------------------------------------------------- -- Add categories blurb configuration ---------------------------------------------------------------------------------------------------- --[[ -- cfg['add-categories-blurb'] -- Text to direct users to add categories to the /doc subpage. Not used if the "content" or -- "docname fed" arguments are set, as then it is not clear where to add the categories. $1 is a -- link to the /doc subpage with a display value of cfg['doc-link-display']. --]] cfg['add-categories-blurb'] = 'Add categories to the $1 subpage.' -- cfg['doc-link-display'] -- The text to display when linking to the /doc subpage. cfg['doc-link-display'] = '/doc' ---------------------------------------------------------------------------------------------------- -- Subpages link configuration ---------------------------------------------------------------------------------------------------- --[[ -- cfg['subpages-blurb'] -- The "Subpages of this template" blurb. $1 is a link to the main template's subpages with a -- display value of cfg['subpages-link-display']. In the English version this blurb is simply -- the link followed by a period, and the link display provides the actual text. --]] cfg['subpages-blurb'] = '$1.' --[[ -- cfg['subpages-link-display'] -- The text to display for the "subpages of this page" link. $1 is cfg['template-pagetype'], -- cfg['module-pagetype'] or cfg['default-pagetype'], depending on whether the current page is in -- the template namespace, the module namespace, or another namespace. --]] cfg['subpages-link-display'] = 'Subpages of this $1' -- cfg['template-pagetype'] -- The pagetype to display for template pages. cfg['template-pagetype'] = 'template' -- cfg['module-pagetype'] -- The pagetype to display for Lua module pages. cfg['module-pagetype'] = 'module' -- cfg['default-pagetype'] -- The pagetype to display for pages other than templates or Lua modules. cfg['default-pagetype'] = 'page' ---------------------------------------------------------------------------------------------------- -- Doc link configuration ---------------------------------------------------------------------------------------------------- -- cfg['doc-subpage'] -- The name of the subpage typically used for documentation pages. cfg['doc-subpage'] = 'doc' -- cfg['docpage-preload'] -- Preload file for template documentation pages in all namespaces. cfg['docpage-preload'] = 'Template:Documentation/preload' -- cfg['module-preload'] -- Preload file for Lua module documentation pages. cfg['module-preload'] = 'Template:Documentation/preload-module-doc' ---------------------------------------------------------------------------------------------------- -- HTML and CSS configuration ---------------------------------------------------------------------------------------------------- -- cfg['templatestyles'] -- The name of the TemplateStyles page where CSS is kept. -- Sandbox CSS will be at Module:Documentation/sandbox/styles.css when needed. cfg['templatestyles'] = 'Module:Documentation/styles.css' -- cfg['container'] -- Class which can be used to set flex or grid CSS on the -- two child divs documentation and documentation-metadata cfg['container'] = 'documentation-container' -- cfg['main-div-classes'] -- Classes added to the main HTML "div" tag. cfg['main-div-classes'] = 'documentation' -- cfg['main-div-heading-class'] -- Class for the main heading for templates and modules and assoc. talk spaces cfg['main-div-heading-class'] = 'documentation-heading' -- cfg['start-box-class'] -- Class for the start box cfg['start-box-class'] = 'documentation-startbox' -- cfg['start-box-link-classes'] -- Classes used for the [view][edit][history] or [create] links in the start box. -- mw-editsection-like is per [[Wikipedia:Village pump (technical)/Archive 117]] cfg['start-box-link-classes'] = 'mw-editsection-like plainlinks' -- cfg['end-box-class'] -- Class for the end box. cfg['end-box-class'] = 'documentation-metadata' -- cfg['end-box-plainlinks'] -- Plainlinks cfg['end-box-plainlinks'] = 'plainlinks' -- cfg['toolbar-class'] -- Class added for toolbar links. cfg['toolbar-class'] = 'documentation-toolbar' -- cfg['clear'] -- Just used to clear things. cfg['clear'] = 'documentation-clear' ---------------------------------------------------------------------------------------------------- -- Tracking category configuration ---------------------------------------------------------------------------------------------------- -- cfg['display-strange-usage-category'] -- Set to true to enable output of cfg['strange-usage-category'] if the module is used on a /doc subpage -- or a /testcases subpage. This should be a boolean value (either true or false). cfg['display-strange-usage-category'] = true -- cfg['strange-usage-category'] -- Category to output if cfg['display-strange-usage-category'] is set to true and the module is used on a -- /doc subpage or a /testcases subpage. cfg['strange-usage-category'] = 'Wikipedia pages with strange ((documentation)) usage' --[[ ---------------------------------------------------------------------------------------------------- -- End configuration -- -- Don't edit anything below this line. ---------------------------------------------------------------------------------------------------- --]] return cfg 71b68ed73088f1a59d61acf06bbee9fde6677f03 828 107 938 2022-01-31T13:08:18Z wikipedia>MSGJ 0 updates/fixes requested by [[User:Uzume]] Scribunto text/plain ------------------------------------------------------------------------------------ -- TableTools -- -- -- -- This module includes a number of functions for dealing with Lua tables. -- -- It is a meta-module, meant to be called from other Lua modules, and should not -- -- be called directly from #invoke. -- ------------------------------------------------------------------------------------ local libraryUtil = require('libraryUtil') local p = {} -- Define often-used variables and functions. local floor = math.floor local infinity = math.huge local checkType = libraryUtil.checkType local checkTypeMulti = libraryUtil.checkTypeMulti ------------------------------------------------------------------------------------ -- isPositiveInteger -- -- This function returns true if the given value is a positive integer, and false -- if not. Although it doesn't operate on tables, it is included here as it is -- useful for determining whether a given table key is in the array part or the -- hash part of a table. ------------------------------------------------------------------------------------ function p.isPositiveInteger(v) return type(v) == 'number' and v >= 1 and floor(v) == v and v < infinity end ------------------------------------------------------------------------------------ -- isNan -- -- This function returns true if the given number is a NaN value, and false if -- not. Although it doesn't operate on tables, it is included here as it is useful -- for determining whether a value can be a valid table key. Lua will generate an -- error if a NaN is used as a table key. ------------------------------------------------------------------------------------ function p.isNan(v) return type(v) == 'number' and v ~= v end ------------------------------------------------------------------------------------ -- shallowClone -- -- This returns a clone of a table. The value returned is a new table, but all -- subtables and functions are shared. Metamethods are respected, but the returned -- table will have no metatable of its own. ------------------------------------------------------------------------------------ function p.shallowClone(t) checkType('shallowClone', 1, t, 'table') local ret = {} for k, v in pairs(t) do ret[k] = v end return ret end ------------------------------------------------------------------------------------ -- removeDuplicates -- -- This removes duplicate values from an array. Non-positive-integer keys are -- ignored. The earliest value is kept, and all subsequent duplicate values are -- removed, but otherwise the array order is unchanged. ------------------------------------------------------------------------------------ function p.removeDuplicates(arr) checkType('removeDuplicates', 1, arr, 'table') local isNan = p.isNan local ret, exists = {}, {} for _, v in ipairs(arr) do if isNan(v) then -- NaNs can't be table keys, and they are also unique, so we don't need to check existence. ret[#ret + 1] = v else if not exists[v] then ret[#ret + 1] = v exists[v] = true end end end return ret end ------------------------------------------------------------------------------------ -- numKeys -- -- This takes a table and returns an array containing the numbers of any numerical -- keys that have non-nil values, sorted in numerical order. ------------------------------------------------------------------------------------ function p.numKeys(t) checkType('numKeys', 1, t, 'table') local isPositiveInteger = p.isPositiveInteger local nums = {} for k in pairs(t) do if isPositiveInteger(k) then nums[#nums + 1] = k end end table.sort(nums) return nums end ------------------------------------------------------------------------------------ -- affixNums -- -- This takes a table and returns an array containing the numbers of keys with the -- specified prefix and suffix. For example, for the table -- {a1 = 'foo', a3 = 'bar', a6 = 'baz'} and the prefix "a", affixNums will return -- {1, 3, 6}. ------------------------------------------------------------------------------------ function p.affixNums(t, prefix, suffix) checkType('affixNums', 1, t, 'table') checkType('affixNums', 2, prefix, 'string', true) checkType('affixNums', 3, suffix, 'string', true) local function cleanPattern(s) -- Cleans a pattern so that the magic characters ()%.[]*+-?^$ are interpreted literally. return s:gsub('([%(%)%%%.%[%]%*%+%-%?%^%$])', '%%%1') end prefix = prefix or '' suffix = suffix or '' prefix = cleanPattern(prefix) suffix = cleanPattern(suffix) local pattern = '^' .. prefix .. '([1-9]%d*)' .. suffix .. '$' local nums = {} for k in pairs(t) do if type(k) == 'string' then local num = mw.ustring.match(k, pattern) if num then nums[#nums + 1] = tonumber(num) end end end table.sort(nums) return nums end ------------------------------------------------------------------------------------ -- numData -- -- Given a table with keys like {"foo1", "bar1", "foo2", "baz2"}, returns a table -- of subtables in the format -- {[1] = {foo = 'text', bar = 'text'}, [2] = {foo = 'text', baz = 'text'}}. -- Keys that don't end with an integer are stored in a subtable named "other". The -- compress option compresses the table so that it can be iterated over with -- ipairs. ------------------------------------------------------------------------------------ function p.numData(t, compress) checkType('numData', 1, t, 'table') checkType('numData', 2, compress, 'boolean', true) local ret = {} for k, v in pairs(t) do local prefix, num = mw.ustring.match(tostring(k), '^([^0-9]*)([1-9][0-9]*)$') if num then num = tonumber(num) local subtable = ret[num] or {} if prefix == '' then -- Positional parameters match the blank string; put them at the start of the subtable instead. prefix = 1 end subtable[prefix] = v ret[num] = subtable else local subtable = ret.other or {} subtable[k] = v ret.other = subtable end end if compress then local other = ret.other ret = p.compressSparseArray(ret) ret.other = other end return ret end ------------------------------------------------------------------------------------ -- compressSparseArray -- -- This takes an array with one or more nil values, and removes the nil values -- while preserving the order, so that the array can be safely traversed with -- ipairs. ------------------------------------------------------------------------------------ function p.compressSparseArray(t) checkType('compressSparseArray', 1, t, 'table') local ret = {} local nums = p.numKeys(t) for _, num in ipairs(nums) do ret[#ret + 1] = t[num] end return ret end ------------------------------------------------------------------------------------ -- sparseIpairs -- -- This is an iterator for sparse arrays. It can be used like ipairs, but can -- handle nil values. ------------------------------------------------------------------------------------ function p.sparseIpairs(t) checkType('sparseIpairs', 1, t, 'table') local nums = p.numKeys(t) local i = 0 local lim = #nums return function () i = i + 1 if i <= lim then local key = nums[i] return key, t[key] else return nil, nil end end end ------------------------------------------------------------------------------------ -- size -- -- This returns the size of a key/value pair table. It will also work on arrays, -- but for arrays it is more efficient to use the # operator. ------------------------------------------------------------------------------------ function p.size(t) checkType('size', 1, t, 'table') local i = 0 for _ in pairs(t) do i = i + 1 end return i end local function defaultKeySort(item1, item2) -- "number" < "string", so numbers will be sorted before strings. local type1, type2 = type(item1), type(item2) if type1 ~= type2 then return type1 < type2 elseif type1 == 'table' or type1 == 'boolean' or type1 == 'function' then return tostring(item1) < tostring(item2) else return item1 < item2 end end ------------------------------------------------------------------------------------ -- keysToList -- -- Returns an array of the keys in a table, sorted using either a default -- comparison function or a custom keySort function. ------------------------------------------------------------------------------------ function p.keysToList(t, keySort, checked) if not checked then checkType('keysToList', 1, t, 'table') checkTypeMulti('keysToList', 2, keySort, {'function', 'boolean', 'nil'}) end local arr = {} local index = 1 for k in pairs(t) do arr[index] = k index = index + 1 end if keySort ~= false then keySort = type(keySort) == 'function' and keySort or defaultKeySort table.sort(arr, keySort) end return arr end ------------------------------------------------------------------------------------ -- sortedPairs -- -- Iterates through a table, with the keys sorted using the keysToList function. -- If there are only numerical keys, sparseIpairs is probably more efficient. ------------------------------------------------------------------------------------ function p.sortedPairs(t, keySort) checkType('sortedPairs', 1, t, 'table') checkType('sortedPairs', 2, keySort, 'function', true) local arr = p.keysToList(t, keySort, true) local i = 0 return function () i = i + 1 local key = arr[i] if key ~= nil then return key, t[key] else return nil, nil end end end ------------------------------------------------------------------------------------ -- isArray -- -- Returns true if the given value is a table and all keys are consecutive -- integers starting at 1. ------------------------------------------------------------------------------------ function p.isArray(v) if type(v) ~= 'table' then return false end local i = 0 for _ in pairs(v) do i = i + 1 if v[i] == nil then return false end end return true end ------------------------------------------------------------------------------------ -- isArrayLike -- -- Returns true if the given value is iterable and all keys are consecutive -- integers starting at 1. ------------------------------------------------------------------------------------ function p.isArrayLike(v) if not pcall(pairs, v) then return false end local i = 0 for _ in pairs(v) do i = i + 1 if v[i] == nil then return false end end return true end ------------------------------------------------------------------------------------ -- invert -- -- Transposes the keys and values in an array. For example, {"a", "b", "c"} -> -- {a = 1, b = 2, c = 3}. Duplicates are not supported (result values refer to -- the index of the last duplicate) and NaN values are ignored. ------------------------------------------------------------------------------------ function p.invert(arr) checkType("invert", 1, arr, "table") local isNan = p.isNan local map = {} for i, v in ipairs(arr) do if not isNan(v) then map[v] = i end end return map end ------------------------------------------------------------------------------------ -- listToSet -- -- Creates a set from the array part of the table. Indexing the set by any of the -- values of the array returns true. For example, {"a", "b", "c"} -> -- {a = true, b = true, c = true}. NaN values are ignored as Lua considers them -- never equal to any value (including other NaNs or even themselves). ------------------------------------------------------------------------------------ function p.listToSet(arr) checkType("listToSet", 1, arr, "table") local isNan = p.isNan local set = {} for _, v in ipairs(arr) do if not isNan(v) then set[v] = true end end return set end ------------------------------------------------------------------------------------ -- deepCopy -- -- Recursive deep copy function. Preserves identities of subtables. ------------------------------------------------------------------------------------ local function _deepCopy(orig, includeMetatable, already_seen) -- Stores copies of tables indexed by the original table. already_seen = already_seen or {} local copy = already_seen[orig] if copy ~= nil then return copy end if type(orig) == 'table' then copy = {} for orig_key, orig_value in pairs(orig) do copy[_deepCopy(orig_key, includeMetatable, already_seen)] = _deepCopy(orig_value, includeMetatable, already_seen) end already_seen[orig] = copy if includeMetatable then local mt = getmetatable(orig) if mt ~= nil then local mt_copy = _deepCopy(mt, includeMetatable, already_seen) setmetatable(copy, mt_copy) already_seen[mt] = mt_copy end end else -- number, string, boolean, etc copy = orig end return copy end function p.deepCopy(orig, noMetatable, already_seen) checkType("deepCopy", 3, already_seen, "table", true) return _deepCopy(orig, not noMetatable, already_seen) end ------------------------------------------------------------------------------------ -- sparseConcat -- -- Concatenates all values in the table that are indexed by a number, in order. -- sparseConcat{a, nil, c, d} => "acd" -- sparseConcat{nil, b, c, d} => "bcd" ------------------------------------------------------------------------------------ function p.sparseConcat(t, sep, i, j) local arr = {} local arr_i = 0 for _, v in p.sparseIpairs(t) do arr_i = arr_i + 1 arr[arr_i] = v end return table.concat(arr, sep, i, j) end ------------------------------------------------------------------------------------ -- length -- -- Finds the length of an array, or of a quasi-array with keys such as "data1", -- "data2", etc., using an exponential search algorithm. It is similar to the -- operator #, but may return a different value when there are gaps in the array -- portion of the table. Intended to be used on data loaded with mw.loadData. For -- other tables, use #. -- Note: #frame.args in frame object always be set to 0, regardless of the number -- of unnamed template parameters, so use this function for frame.args. ------------------------------------------------------------------------------------ function p.length(t, prefix) -- requiring module inline so that [[Module:Exponential search]] which is -- only needed by this one function doesn't get millions of transclusions local expSearch = require("Module:Exponential search") checkType('length', 1, t, 'table') checkType('length', 2, prefix, 'string', true) return expSearch(function (i) local key if prefix then key = prefix .. tostring(i) else key = i end return t[key] ~= nil end) or 0 end ------------------------------------------------------------------------------------ -- inArray -- -- Returns true if valueToFind is a member of the array, and false otherwise. ------------------------------------------------------------------------------------ function p.inArray(arr, valueToFind) checkType("inArray", 1, arr, "table") -- if valueToFind is nil, error? for _, v in ipairs(arr) do if v == valueToFind then return true end end return false end return p 085e7094ac84eb0132ee65822cf3f69cd8ba3d81 828 104 932 2022-02-21T05:24:13Z wikipedia>BusterD 0 Changed protection settings for "[[Module:Check for unknown parameters]]": [[WP:High-risk templates|Highly visible template]]; requested at [[WP:RfPP]] ([Edit=Require administrator access] (indefinite) [Move=Require administrator access] (indefinite)) Scribunto text/plain -- This module may be used to compare the arguments passed to the parent -- with a list of arguments, returning a specified result if an argument is -- not on the list local p = {} local function trim(s) return s:match('^%s*(.-)%s*$') end local function isnotempty(s) return s and s:match('%S') end local function clean(text) -- Return text cleaned for display and truncated if too long. -- Strip markers are replaced with dummy text representing the original wikitext. local pos, truncated local function truncate(text) if truncated then return '' end if mw.ustring.len(text) > 25 then truncated = true text = mw.ustring.sub(text, 1, 25) .. '...' end return mw.text.nowiki(text) end local parts = {} for before, tag, remainder in text:gmatch('([^\127]*)\127[^\127]*%-(%l+)%-[^\127]*\127()') do pos = remainder table.insert(parts, truncate(before) .. '&lt;' .. tag .. '&gt;...&lt;/' .. tag .. '&gt;') end table.insert(parts, truncate(text:sub(pos or 1))) return table.concat(parts) end function p._check(args, pargs) if type(args) ~= "table" or type(pargs) ~= "table" then -- TODO: error handling return end -- create the list of known args, regular expressions, and the return string local knownargs = {} local regexps = {} for k, v in pairs(args) do if type(k) == 'number' then v = trim(v) knownargs[v] = 1 elseif k:find('^regexp[1-9][0-9]*$') then table.insert(regexps, '^' .. v .. '$') end end -- loop over the parent args, and make sure they are on the list local ignoreblank = isnotempty(args['ignoreblank']) local showblankpos = isnotempty(args['showblankpositional']) local values = {} for k, v in pairs(pargs) do if type(k) == 'string' and knownargs[k] == nil then local knownflag = false for _, regexp in ipairs(regexps) do if mw.ustring.match(k, regexp) then knownflag = true break end end if not knownflag and ( not ignoreblank or isnotempty(v) ) then table.insert(values, clean(k)) end elseif type(k) == 'number' and knownargs[tostring(k)] == nil then local knownflag = false for _, regexp in ipairs(regexps) do if mw.ustring.match(tostring(k), regexp) then knownflag = true break end end if not knownflag and ( showblankpos or isnotempty(v) ) then table.insert(values, k .. ' = ' .. clean(v)) end end end -- add results to the output tables local res = {} if #values > 0 then local unknown_text = args['unknown'] or 'Found _VALUE_, ' if mw.getCurrentFrame():preprocess( "{{REVISIONID}}" ) == "" then local preview_text = args['preview'] if isnotempty(preview_text) then preview_text = require('Module:If preview')._warning({preview_text}) elseif preview == nil then preview_text = unknown_text end unknown_text = preview_text end for _, v in pairs(values) do -- Fix odd bug for | = which gets stripped to the empty string and -- breaks category links if v == '' then v = ' ' end -- avoid error with v = 'example%2' ("invalid capture index") local r = unknown_text:gsub('_VALUE_', {_VALUE_ = v}) table.insert(res, r) end end return table.concat(res) end function p.check(frame) local args = frame.args local pargs = frame:getParent().args return p._check(args, pargs) end return p 93db6d115d4328d2a5148bb42959105e367b663e 828 123 970 2022-02-23T10:59:29Z wikipedia>Xaosflux 0 Changed protection settings for "[[Module:Effective protection expiry]]": used in the mediawiki interface / match [[Module:Effective protection level]] ([Edit=Require administrator access] (indefinite) [Move=Require administrator access] (indefinite)) Scribunto text/plain local p = {} -- Returns the expiry of a restriction of an action on a given title, or unknown if it cannot be known. -- If no title is specified, the title of the page being displayed is used. function p._main(action, pagename) local title if type(pagename) == 'table' and pagename.prefixedText then title = pagename elseif pagename then title = mw.title.new(pagename) else title = mw.title.getCurrentTitle() end pagename = title.prefixedText if action == 'autoreview' then local stabilitySettings = mw.ext.FlaggedRevs.getStabilitySettings(title) return stabilitySettings and stabilitySettings.expiry or 'unknown' elseif action ~= 'edit' and action ~= 'move' and action ~= 'create' and action ~= 'upload' then error( 'First parameter must be one of edit, move, create, upload, autoreview', 2 ) end local rawExpiry = mw.getCurrentFrame():callParserFunction('PROTECTIONEXPIRY', action, pagename) if rawExpiry == 'infinity' then return 'infinity' elseif rawExpiry == '' then return 'unknown' else local year, month, day, hour, minute, second = rawExpiry:match( '^(%d%d%d%d)(%d%d)(%d%d)(%d%d)(%d%d)(%d%d)$' ) if year then return string.format( '%s-%s-%sT%s:%s:%s', year, month, day, hour, minute, second ) else error('internal error in Module:Effective protection expiry; malformed expiry timestamp') end end end setmetatable(p, { __index = function(t, k) return function(frame) return t._main(k, frame.args[1]) end end }) return p 9a8c58dc2667232ed08a9b206a5d89ca8150312b 828 117 958 2022-03-08T08:30:51Z wikipedia>Primefac 0 update from sandbox - fixes to _show_result and adding _expand Scribunto text/plain -- This implements Template:Tlg local getArgs = require('Module:Arguments').getArgs local p = {} -- Is a string non-empty? local function _ne(s) return s ~= nil and s ~= "" end local nw = mw.text.nowiki local function addTemplate(s) local i, _ = s:find(':', 1, true) if i == nil then return 'Template:' .. s end local ns = s:sub(1, i - 1) if ns == '' or mw.site.namespaces[ns] then return s else return 'Template:' .. s end end local function trimTemplate(s) local needle = 'template:' if s:sub(1, needle:len()):lower() == needle then return s:sub(needle:len() + 1) else return s end end local function linkTitle(args) if _ne(args.nolink) then return args['1'] end local titleObj local titlePart = '[[' if args['1'] then -- This handles :Page and other NS titleObj = mw.title.new(args['1'], 'Template') else titleObj = mw.title.getCurrentTitle() end titlePart = titlePart .. (titleObj ~= nil and titleObj.fullText or addTemplate(args['1'])) local textPart = args.alttext if not _ne(textPart) then if titleObj ~= nil then textPart = titleObj:inNamespace("Template") and args['1'] or titleObj.fullText else -- redlink textPart = args['1'] end end if _ne(args.subst) then -- HACK: the ns thing above is probably broken textPart = 'subst:' .. textPart end if _ne(args.brace) then textPart = nw('{{') .. textPart .. nw('}}') elseif _ne(args.braceinside) then textPart = nw('{') .. textPart .. nw('}') end titlePart = titlePart .. '|' .. textPart .. ']]' if _ne(args.braceinside) then titlePart = nw('{') .. titlePart .. nw('}') end return titlePart end function p.main(frame) local args = getArgs(frame, { trim = true, removeBlanks = false }) return p._main(args) end function p._main(args) local bold = _ne(args.bold) or _ne(args.boldlink) or _ne(args.boldname) local italic = _ne(args.italic) or _ne(args.italics) local dontBrace = _ne(args.brace) or _ne(args.braceinside) local code = _ne(args.code) or _ne(args.tt) local show_result = _ne(args._show_result) local expand = _ne(args._expand) -- Build the link part local titlePart = linkTitle(args) if bold then titlePart = "'''" .. titlePart .. "'''" end if _ne(args.nowrapname) then titlePart = '<span class="nowrap">' .. titlePart .. '</span>' end -- Build the arguments local textPart = "" local textPartBuffer = "&#124;" local codeArguments = {} local codeArgumentsString = "" local i = 2 local j = 1 while args[i] do local val = args[i] if val ~= "" then if _ne(args.nowiki) then -- Unstrip nowiki tags first because calling nw on something that already contains nowiki tags will -- mangle the nowiki strip marker and result in literal UNIQ...QINU showing up val = nw(mw.text.unstripNoWiki(val)) end local k, v = string.match(val, "(.*)=(.*)") if not k then codeArguments[j] = val j = j + 1 else codeArguments[k] = v end codeArgumentsString = codeArgumentsString .. textPartBuffer .. val if italic then val = '<span style="font-style:italic;">' .. val .. '</span>' end textPart = textPart .. textPartBuffer .. val end i = i + 1 end -- final wrap local ret = titlePart .. textPart if not dontBrace then ret = nw('{{') .. ret .. nw('}}') end if _ne(args.a) then ret = nw('*') .. '&nbsp;' .. ret end if _ne(args.kbd) then ret = '<kbd>' .. ret .. '</kbd>' end if code then ret = '<code>' .. ret .. '</code>' elseif _ne(args.plaincode) then ret = '<code style="border:none;background:transparent;">' .. ret .. '</code>' end if _ne(args.nowrap) then ret = '<span class="nowrap">' .. ret .. '</span>' end --[[ Wrap as html?? local span = mw.html.create('span') span:wikitext(ret) --]] if _ne(args.debug) then ret = ret .. '\n<pre>' .. mw.text.encode(mw.dumpObject(args)) .. '</pre>' end if show_result then local result = mw.getCurrentFrame():expandTemplate{title = addTemplate(args[1]), args = codeArguments} ret = ret .. " → " .. result end if expand then local query = mw.text.encode('{{' .. addTemplate(args[1]) .. string.gsub(codeArgumentsString, textPartBuffer, "|") .. '}}') local url = mw.uri.fullUrl('special:ExpandTemplates', 'wpInput=' .. query) mw.log() ret = ret .. " [" .. tostring(url) .. "]" end return ret end return p c7307fa3959d308a2dd7fd2f5009c1ce6db3d122 10 151 1024 2022-03-29T02:14:34Z wikipedia>Bsherr 0 consistent with new substitution template format wikitext text/x-wiki {{#invoke:documentation|main|_content={{ {{#invoke:documentation|contentTitle}}}}}}<noinclude> <!-- Add categories to the /doc subpage --> </noinclude> 9e62b964e96c4e3d478edecbfcb3c0338ae8a276 10 180 1068 2022-03-31T17:59:41Z wikipedia>MusikBot II 0 Protected "[[Template:Template redirect]]": [[Wikipedia:High-risk templates|High-risk template or module]]: 255 transclusions ([[User:MusikBot II/TemplateProtector|more info]]) ([Edit=Require autoconfirmed or confirmed access] (indefinite)) wikitext text/x-wiki <includeonly>{{#invoke:Shortcut|main|template=yes|redirect=yes}}</includeonly><noinclude>{{Documentation}}</noinclude> ec5365d4636ace45dd2b6b23308dc97a0b73a7ad 10 90 904 2022-05-13T03:22:19Z wikipedia>Hyacinth 0 Reverted edits by [[Special:Contribs/Hyacinth|Hyacinth]] ([[User talk:Hyacinth|talk]]) to last version by Izno wikitext text/x-wiki {{ {{{|safesubst:}}}#invoke:Unsubst||date=__DATE__ |$B= {{Fix |name={{{name|Citation needed}}} |link=Wikipedia:Citation needed |text=citation needed |class=Template-Fact |title={{{reason|This claim needs references to reliable sources.}}} |date={{{date|}}} |cat=[[Category:All articles with unsourced statements]] |cat-date=Category:Articles with unsourced statements }}{{#invoke:Check for unknown parameters|check|unknown={{main other|[[Category:Pages containing citation needed template with unsupported parameters|_VALUE_{{PAGENAME}}]]}}|preview=Page using [[Template:Citation needed]] with unknown parameter "_VALUE_"|ignoreblank=y| date | name | reason }}}}<noinclude> {{Documentation}} </noinclude> 0da00647cf516584566df3fd518b1d55696e4b25 10 190 1090 2022-06-11T17:42:16Z wikipedia>Izno 0 correct my error per [[Template talk:Reflist#liststyle and group]] wikitext text/x-wiki <templatestyles src="Reflist/styles.css" /><div class="reflist <!-- -->{{#if:{{{1|}}}{{{colwidth|}}}|reflist-columns references-column-width}} <!-- -->{{#switch:{{{liststyle|{{{group|}}}}}}|upper-alpha|upper-roman|lower-alpha|lower-greek|lower-roman=reflist-{{{liststyle|{{{group}}}}}}}} <!-- -->{{#if:{{{1|}}}|{{#iferror:{{#ifexpr: {{{1|1}}} > 1 }}||{{#switch:{{{1|}}}|1=|2=reflist-columns-2|#default=reflist-columns-3}} }}}}" <!-- end class -->{{#if: {{{1|}}}<!-- start style --> | {{#iferror: {{#ifexpr: {{{1|1}}} > 1 }} |style="column-width: {{{1}}};"}} | {{#if: {{{colwidth|}}}|style="column-width: {{{colwidth}}};"}} }}> {{#tag:references|{{{refs|}}}|group={{{group|}}}|responsive={{#if:{{{1|}}}{{{colwidth|}}}|0|1}}}}</div>{{#invoke:Check for unknown parameters|check|unknown={{main other|[[Category:Pages using reflist with unknown parameters|_VALUE_{{PAGENAME}}]]}}|preview=Page using [[Template:Reflist]] with unknown parameter "_VALUE_"|ignoreblank=y| 1 | colwidth | group | liststyle | refs }}<noinclude> {{Documentation}} </noinclude> 8c65cc88272db6c0f5cf2b49f84d3e460e60ee5f 828 216 1142 2022-06-16T15:10:06Z wikipedia>Pppery 0 Matching reality rather than 2018 me's wishful thinking Scribunto text/plain local cfg = {} -- Don’t touch this line. -- Subpage blacklist: these subpages will not be categorized (except for the -- error category, which is always added if there is an error). -- For example “Template:Foo/doc” matches the `doc = true` rule, so it will have -- no categories. “Template:Foo” and “Template:Foo/documentation” match no rules, -- so they *will* have categories. All rules should be in the -- ['<subpage name>'] = true, -- format. cfg['subpage_blacklist'] = { ['doc'] = true, ['sandbox'] = true, ['sandbox2'] = true, ['testcases'] = true, } -- Sandbox title: if the stylesheet’s title is <template>/<stylesheet>.css, the -- stylesheet’s sandbox is expected to be at <template>/<sandbox_title>/<stylesheet>.css -- Set to nil to disable sandbox links. cfg['sandbox_title'] = 'sandbox' -- Error category: this category is added if the module call contains errors -- (e.g. no stylesheet listed). A category name without namespace, or nil -- to disable categorization (not recommended). cfg['error_category'] = 'Uses TemplateStyles templates with errors' -- Default category: this category is added if no custom category is specified -- in module/template call. A category name without namespace, or nil -- to disable categorization. cfg['default_category'] = 'Templates using TemplateStyles' -- Protection conflict category: this category is added if the protection level -- of any stylesheet is lower than the protection level of the template. A category name -- without namespace, or nil to disable categorization (not recommended). cfg['protection_conflict_category'] = 'Templates using TemplateStyles with a different protection level' -- Hierarchy of protection levels, used to determine whether one protection level is lower -- than another and thus should populate protection_conflict_category. No protection is treated as zero cfg['protection_hierarchy'] = { autoconfirmed = 1, extendedconfirmed = 2, templateeditor = 3, sysop = 4 } -- Padlock pattern: Lua pattern to search on protected stylesheets for, or nil -- to disable padlock check. cfg['padlock_pattern'] = '{{pp-' -- Missing padlock category: this category is added if a protected stylesheet -- doesn’t contain any padlock template (specified by the above Lua pattern). -- A category name without namespace (no nil allowed) if the pattern is not nil, -- unused (and thus may be nil) otherwise. cfg['missing_padlock_category'] = 'Templates using TemplateStyles without padlocks' return cfg -- Don’t touch this line. 58e7a37c44f6ea3f6b8af54a559d696cc7256493 828 215 1140 2022-06-16T15:13:38Z wikipedia>Pppery 0 Matching reality rather than 2018 me's wishful thinking Scribunto text/plain local yesno = require('Module:Yesno') local mList = require('Module:List') local mTableTools = require('Module:TableTools') local mMessageBox = require('Module:Message box') local TNT = require('Module:TNT') local p = {} local function format(msg, ...) return TNT.format('I18n/Uses TemplateStyles', msg, ...) end local function getConfig() return mw.loadData('Module:Uses TemplateStyles/config') end local function renderBox(tStyles) local boxArgs = { type = 'notice', small = true, image = string.format('[[File:Farm-Fresh css add.svg|32px|alt=%s]]', format('logo-alt')) } if #tStyles < 1 then boxArgs.text = string.format('<strong class="error">%s</strong>', format('error-emptylist')) else local cfg = getConfig() local tStylesLinks = {} for i, ts in ipairs(tStyles) do local link = string.format('[[:%s]]', ts) local sandboxLink = nil local tsTitle = mw.title.new(ts) if tsTitle and cfg['sandbox_title'] then local tsSandboxTitle = mw.title.new(string.format( '%s:%s/%s/%s', tsTitle.nsText, tsTitle.baseText, cfg['sandbox_title'], tsTitle.subpageText)) if tsSandboxTitle and tsSandboxTitle.exists then sandboxLink = format('sandboxlink', link, ':' .. tsSandboxTitle.prefixedText) end end tStylesLinks[i] = sandboxLink or link end local tStylesList = mList.makeList('bulleted', tStylesLinks) boxArgs.text = format( mw.title.getCurrentTitle():inNamespaces(828,829) and 'header-module' or 'header-template') .. '\n' .. tStylesList end return mMessageBox.main('mbox', boxArgs) end local function renderTrackingCategories(args, tStyles, titleObj) if yesno(args.nocat) then return '' end local cfg = getConfig() local cats = {} -- Error category if #tStyles < 1 and cfg['error_category'] then cats[#cats + 1] = cfg['error_category'] end -- TemplateStyles category titleObj = titleObj or mw.title.getCurrentTitle() if (titleObj.namespace == 10 or titleObj.namespace == 828) and not cfg['subpage_blacklist'][titleObj.subpageText] then local category = args.category or cfg['default_category'] if category then cats[#cats + 1] = category end if not yesno(args.noprotcat) and (cfg['protection_conflict_category'] or cfg['padlock_pattern']) then local currentProt = titleObj.protectionLevels["edit"] and titleObj.protectionLevels["edit"][1] or nil local addedLevelCat = false local addedPadlockCat = false for i, ts in ipairs(tStyles) do local tsTitleObj = mw.title.new(ts) local tsProt = tsTitleObj.protectionLevels["edit"] and tsTitleObj.protectionLevels["edit"][1] or nil if cfg['padlock_pattern'] and tsProt and not addedPadlockCat then local content = tsTitleObj:getContent() if not content:find(cfg['padlock_pattern']) then cats[#cats + 1] = cfg['missing_padlock_category'] addedPadlockCat = true end end if cfg['protection_conflict_category'] and currentProt and tsProt ~= currentProt and not addedLevelCat then currentProt = cfg['protection_hierarchy'][currentProt] or 0 tsProt = cfg['protection_hierarchy'][tsProt] or 0 if tsProt < currentProt then addedLevelCat = true cats[#cats + 1] = cfg['protection_conflict_category'] end end end end end for i, cat in ipairs(cats) do cats[i] = string.format('[[Category:%s]]', cat) end return table.concat(cats) end function p._main(args, cfg) local tStyles = mTableTools.compressSparseArray(args) local box = renderBox(tStyles) local trackingCategories = renderTrackingCategories(args, tStyles) return box .. trackingCategories end function p.main(frame) local origArgs = frame:getParent().args local args = {} for k, v in pairs(origArgs) do v = v:match('^%s*(.-)%s*$') if v ~= '' then args[k] = v end end return p._main(args) end return p 71ca57c37849f38e3c5ee30061bdae730963e48e 828 97 918 2022-07-11T18:19:26Z wikipedia>Izno 0 add templatestyles, remove a variable or two as a result Scribunto text/plain -------------------------------------------------------------------------------- -- Message box configuration -- -- -- -- This module contains configuration data for [[Module:Message box]]. -- -------------------------------------------------------------------------------- return { ambox = { types = { speedy = { class = 'ambox-speedy', image = 'Ambox warning pn.svg' }, delete = { class = 'ambox-delete', image = 'Ambox warning pn.svg' }, content = { class = 'ambox-content', image = 'Ambox important.svg' }, style = { class = 'ambox-style', image = 'Edit-clear.svg' }, move = { class = 'ambox-move', image = 'Merge-split-transwiki default.svg' }, protection = { class = 'ambox-protection', image = 'Semi-protection-shackle-keyhole.svg' }, notice = { class = 'ambox-notice', image = 'Information icon4.svg' } }, default = 'notice', allowBlankParams = {'talk', 'sect', 'date', 'issue', 'fix', 'subst', 'hidden'}, allowSmall = true, smallParam = 'left', smallClass = 'mbox-small-left', substCheck = true, classes = {'metadata', 'ambox'}, imageEmptyCell = true, imageCheckBlank = true, imageSmallSize = '20x20px', imageCellDiv = true, useCollapsibleTextFields = true, imageRightNone = true, sectionDefault = 'article', allowMainspaceCategories = true, templateCategory = 'Article message templates', templateCategoryRequireName = true, templateErrorCategory = 'Article message templates with missing parameters', templateErrorParamsToCheck = {'issue', 'fix', 'subst'}, removalNotice = '<small>[[Help:Maintenance template removal|Learn how and when to remove this template message]]</small>', templatestyles = 'Module:Message box/ambox.css' }, cmbox = { types = { speedy = { class = 'cmbox-speedy', image = 'Ambox warning pn.svg' }, delete = { class = 'cmbox-delete', image = 'Ambox warning pn.svg' }, content = { class = 'cmbox-content', image = 'Ambox important.svg' }, style = { class = 'cmbox-style', image = 'Edit-clear.svg' }, move = { class = 'cmbox-move', image = 'Merge-split-transwiki default.svg' }, protection = { class = 'cmbox-protection', image = 'Semi-protection-shackle-keyhole.svg' }, notice = { class = 'cmbox-notice', image = 'Information icon4.svg' } }, default = 'notice', showInvalidTypeError = true, classes = {'cmbox'}, imageEmptyCell = true, templatestyles = 'Module:Message box/cmbox.css' }, fmbox = { types = { warning = { class = 'fmbox-warning', image = 'Ambox warning pn.svg' }, editnotice = { class = 'fmbox-editnotice', image = 'Information icon4.svg' }, system = { class = 'fmbox-system', image = 'Information icon4.svg' } }, default = 'system', showInvalidTypeError = true, classes = {'fmbox'}, imageEmptyCell = false, imageRightNone = false, templatestyles = 'Module:Message box/fmbox.css' }, imbox = { types = { speedy = { class = 'imbox-speedy', image = 'Ambox warning pn.svg' }, delete = { class = 'imbox-delete', image = 'Ambox warning pn.svg' }, content = { class = 'imbox-content', image = 'Ambox important.svg' }, style = { class = 'imbox-style', image = 'Edit-clear.svg' }, move = { class = 'imbox-move', image = 'Merge-split-transwiki default.svg' }, protection = { class = 'imbox-protection', image = 'Semi-protection-shackle-keyhole.svg' }, license = { class = 'imbox-license licensetpl', image = 'Imbox license.png' -- @todo We need an SVG version of this }, featured = { class = 'imbox-featured', image = 'Cscr-featured.svg' }, notice = { class = 'imbox-notice', image = 'Information icon4.svg' } }, default = 'notice', showInvalidTypeError = true, classes = {'imbox'}, imageEmptyCell = true, below = true, templateCategory = 'File message boxes', templatestyles = 'Module:Message box/imbox.css' }, ombox = { types = { speedy = { class = 'ombox-speedy', image = 'Ambox warning pn.svg' }, delete = { class = 'ombox-delete', image = 'Ambox warning pn.svg' }, content = { class = 'ombox-content', image = 'Ambox important.svg' }, style = { class = 'ombox-style', image = 'Edit-clear.svg' }, move = { class = 'ombox-move', image = 'Merge-split-transwiki default.svg' }, protection = { class = 'ombox-protection', image = 'Semi-protection-shackle-keyhole.svg' }, notice = { class = 'ombox-notice', image = 'Information icon4.svg' } }, default = 'notice', showInvalidTypeError = true, classes = {'ombox'}, allowSmall = true, imageEmptyCell = true, imageRightNone = true, templatestyles = 'Module:Message box/ombox.css' }, tmbox = { types = { speedy = { class = 'tmbox-speedy', image = 'Ambox warning pn.svg' }, delete = { class = 'tmbox-delete', image = 'Ambox warning pn.svg' }, content = { class = 'tmbox-content', image = 'Ambox important.svg' }, style = { class = 'tmbox-style', image = 'Edit-clear.svg' }, move = { class = 'tmbox-move', image = 'Merge-split-transwiki default.svg' }, protection = { class = 'tmbox-protection', image = 'Semi-protection-shackle-keyhole.svg' }, notice = { class = 'tmbox-notice', image = 'Information icon4.svg' } }, default = 'notice', showInvalidTypeError = true, classes = {'tmbox'}, allowSmall = true, imageRightNone = true, imageEmptyCell = true, templateCategory = 'Talk message boxes', templatestyles = 'Module:Message box/tmbox.css' } } b6f0151037e6867b577c8cca32ff297e48697a10 828 182 1072 2022-07-11T18:40:17Z wikipedia>Izno 0 and move mbox-small to 720px here as well text text/plain /* {{pp|small=y}} */ .ombox { margin: 4px 0; border-collapse: collapse; border: 1px solid #a2a9b1; /* Default "notice" gray */ background-color: #f8f9fa; box-sizing: border-box; } /* For the "small=yes" option. */ .ombox.mbox-small { font-size: 88%; line-height: 1.25em; } .ombox-speedy { border: 2px solid #b32424; /* Red */ background-color: #fee7e6; /* Pink */ } .ombox-delete { border: 2px solid #b32424; /* Red */ } .ombox-content { border: 1px solid #f28500; /* Orange */ } .ombox-style { border: 1px solid #fc3; /* Yellow */ } .ombox-move { border: 1px solid #9932cc; /* Purple */ } .ombox-protection { border: 2px solid #a2a9b1; /* Gray-gold */ } .ombox .mbox-text { border: none; /* @noflip */ padding: 0.25em 0.9em; width: 100%; } .ombox .mbox-image { border: none; /* @noflip */ padding: 2px 0 2px 0.9em; text-align: center; } .ombox .mbox-imageright { border: none; /* @noflip */ padding: 2px 0.9em 2px 0; text-align: center; } /* An empty narrow cell */ .ombox .mbox-empty-cell { border: none; padding: 0; width: 1px; } .ombox .mbox-invalid-type { text-align: center; } @media (min-width: 720px) { .ombox { margin: 4px 10%; } .ombox.mbox-small { /* @noflip */ clear: right; /* @noflip */ float: right; /* @noflip */ margin: 4px 0 4px 1em; width: 238px; } } 8fe3df4bb607e699eab2dbd23bd4a1a446391002 10 211 1132 2022-07-11T18:40:17Z wikipedia>Izno 0 and move mbox-small to 720px here as well text text/plain /* {{pp|small=y}} */ .ombox { margin: 4px 0; border-collapse: collapse; border: 1px solid #a2a9b1; /* Default "notice" gray */ background-color: #f8f9fa; box-sizing: border-box; } /* For the "small=yes" option. */ .ombox.mbox-small { font-size: 88%; line-height: 1.25em; } .ombox-speedy { border: 2px solid #b32424; /* Red */ background-color: #fee7e6; /* Pink */ } .ombox-delete { border: 2px solid #b32424; /* Red */ } .ombox-content { border: 1px solid #f28500; /* Orange */ } .ombox-style { border: 1px solid #fc3; /* Yellow */ } .ombox-move { border: 1px solid #9932cc; /* Purple */ } .ombox-protection { border: 2px solid #a2a9b1; /* Gray-gold */ } .ombox .mbox-text { border: none; /* @noflip */ padding: 0.25em 0.9em; width: 100%; } .ombox .mbox-image { border: none; /* @noflip */ padding: 2px 0 2px 0.9em; text-align: center; } .ombox .mbox-imageright { border: none; /* @noflip */ padding: 2px 0.9em 2px 0; text-align: center; } /* An empty narrow cell */ .ombox .mbox-empty-cell { border: none; padding: 0; width: 1px; } .ombox .mbox-invalid-type { text-align: center; } @media (min-width: 720px) { .ombox { margin: 4px 10%; } .ombox.mbox-small { /* @noflip */ clear: right; /* @noflip */ float: right; /* @noflip */ margin: 4px 0 4px 1em; width: 238px; } } 8fe3df4bb607e699eab2dbd23bd4a1a446391002 828 146 1014 2022-07-21T16:43:48Z wikipedia>Hike395 0 update date Scribunto text/plain local yesNo = require("Module:Yesno") local Text = { serial = "2022-07-21", suite = "Text" } --[=[ Text utilities ]=] -- local globals local PatternCJK = false local PatternCombined = false local PatternLatin = false local PatternTerminated = false local QuoteLang = false local QuoteType = false local RangesLatin = false local SeekQuote = false local function initLatinData() if not RangesLatin then RangesLatin = { { 7, 687 }, { 7531, 7578 }, { 7680, 7935 }, { 8194, 8250 } } end if not PatternLatin then local range PatternLatin = "^[" for i = 1, #RangesLatin do range = RangesLatin[ i ] PatternLatin = PatternLatin .. mw.ustring.char( range[ 1 ], 45, range[ 2 ] ) end -- for i PatternLatin = PatternLatin .. "]*$" end end local function initQuoteData() -- Create quote definitions if not QuoteLang then QuoteLang = { af = "bd", ar = "la", be = "labd", bg = "bd", ca = "la", cs = "bd", da = "bd", de = "bd", dsb = "bd", et = "bd", el = "lald", en = "ld", es = "la", eu = "la", -- fa = "la", fi = "rd", fr = "laSPC", ga = "ld", he = "ldla", hr = "bd", hsb = "bd", hu = "bd", hy = "labd", id = "rd", is = "bd", it = "ld", ja = "x300C", ka = "bd", ko = "ld", lt = "bd", lv = "bd", nl = "ld", nn = "la", no = "la", pl = "bdla", pt = "lald", ro = "bdla", ru = "labd", sk = "bd", sl = "bd", sq = "la", sr = "bx", sv = "rd", th = "ld", tr = "ld", uk = "la", zh = "ld", ["de-ch"] = "la", ["en-gb"] = "lsld", ["en-us"] = "ld", ["fr-ch"] = "la", ["it-ch"] = "la", ["pt-br"] = "ldla", ["zh-tw"] = "x300C", ["zh-cn"] = "ld" } end if not QuoteType then QuoteType = { bd = { { 8222, 8220 }, { 8218, 8217 } }, bdla = { { 8222, 8220 }, { 171, 187 } }, bx = { { 8222, 8221 }, { 8218, 8217 } }, la = { { 171, 187 }, { 8249, 8250 } }, laSPC = { { 171, 187 }, { 8249, 8250 }, true }, labd = { { 171, 187 }, { 8222, 8220 } }, lald = { { 171, 187 }, { 8220, 8221 } }, ld = { { 8220, 8221 }, { 8216, 8217 } }, ldla = { { 8220, 8221 }, { 171, 187 } }, lsld = { { 8216, 8217 }, { 8220, 8221 } }, rd = { { 8221, 8221 }, { 8217, 8217 } }, x300C = { { 0x300C, 0x300D }, { 0x300E, 0x300F } } } end end -- initQuoteData() local function fiatQuote( apply, alien, advance ) -- Quote text -- Parameter: -- apply -- string, with text -- alien -- string, with language code -- advance -- number, with level 1 or 2 local r = apply and tostring(apply) or "" alien = alien or "en" advance = tonumber(advance) or 0 local suite initQuoteData() local slang = alien:match( "^(%l+)-" ) suite = QuoteLang[alien] or slang and QuoteLang[slang] or QuoteLang["en"] if suite then local quotes = QuoteType[ suite ] if quotes then local space if quotes[ 3 ] then space = "&#160;" else space = "" end quotes = quotes[ advance ] if quotes then r = mw.ustring.format( "%s%s%s%s%s", mw.ustring.char( quotes[ 1 ] ), space, apply, space, mw.ustring.char( quotes[ 2 ] ) ) end else mw.log( "fiatQuote() " .. suite ) end end return r end -- fiatQuote() Text.char = function ( apply, again, accept ) -- Create string from codepoints -- Parameter: -- apply -- table (sequence) with numerical codepoints, or nil -- again -- number of repetitions, or nil -- accept -- true, if no error messages to be appended -- Returns: string local r = "" apply = type(apply) == "table" and apply or {} again = math.floor(tonumber(again) or 1) if again < 1 then return "" end local bad = { } local codes = { } for _, v in ipairs( apply ) do local n = tonumber(v) if not n or (n < 32 and n ~= 9 and n ~= 10) then table.insert(bad, tostring(v)) else table.insert(codes, math.floor(n)) end end if #bad > 0 then if not accept then r = tostring( mw.html.create( "span" ) :addClass( "error" ) :wikitext( "bad codepoints: " .. table.concat( bad, " " )) ) end return r end if #codes > 0 then r = mw.ustring.char( unpack( codes ) ) if again > 1 then r = r:rep(again) end end return r end -- Text.char() local function trimAndFormat(args, fmt) local result = {} if type(args) ~= 'table' then args = {args} end for _, v in ipairs(args) do v = mw.text.trim(tostring(v)) if v ~= "" then table.insert(result,fmt and mw.ustring.format(fmt, v) or v) end end return result end Text.concatParams = function ( args, apply, adapt ) -- Concat list items into one string -- Parameter: -- args -- table (sequence) with numKey=string -- apply -- string (optional); separator (default: "|") -- adapt -- string (optional); format including "%s" -- Returns: string local collect = { } return table.concat(trimAndFormat(args,adapt), apply or "|") end -- Text.concatParams() Text.containsCJK = function ( s ) -- Is any CJK code within? -- Parameter: -- s -- string -- Returns: true, if CJK detected s = s and tostring(s) or "" if not patternCJK then patternCJK = mw.ustring.char( 91, 4352, 45, 4607, 11904, 45, 42191, 43072, 45, 43135, 44032, 45, 55215, 63744, 45, 64255, 65072, 45, 65103, 65381, 45, 65500, 131072, 45, 196607, 93 ) end return mw.ustring.find( s, patternCJK ) ~= nil end -- Text.containsCJK() Text.removeDelimited = function (s, prefix, suffix) -- Remove all text in s delimited by prefix and suffix (inclusive) -- Arguments: -- s = string to process -- prefix = initial delimiter -- suffix = ending delimiter -- Returns: stripped string s = s and tostring(s) or "" prefix = prefix and tostring(prefix) or "" suffix = suffix and tostring(suffix) or "" local prefixLen = mw.ustring.len(prefix) local suffixLen = mw.ustring.len(suffix) if prefixLen == 0 or suffixLen == 0 then return s end local i = s:find(prefix, 1, true) local r = s local j while i do j = r:find(suffix, i + prefixLen) if j then r = r:sub(1, i - 1)..r:sub(j+suffixLen) else r = r:sub(1, i - 1) end i = r:find(prefix, 1, true) end return r end Text.getPlain = function ( adjust ) -- Remove wikisyntax from string, except templates -- Parameter: -- adjust -- string -- Returns: string local r = Text.removeDelimited(adjust,"<!--","-->") r = r:gsub( "(</?%l[^>]*>)", "" ) :gsub( "'''", "" ) :gsub( "''", "" ) :gsub( "&nbsp;", " " ) return r end -- Text.getPlain() Text.isLatinRange = function (s) -- Are characters expected to be latin or symbols within latin texts? -- Arguments: -- s = string to analyze -- Returns: true, if valid for latin only s = s and tostring(s) or "" --- ensure input is always string initLatinData() return mw.ustring.match(s, PatternLatin) ~= nil end -- Text.isLatinRange() Text.isQuote = function ( s ) -- Is this character any quotation mark? -- Parameter: -- s = single character to analyze -- Returns: true, if s is quotation mark s = s and tostring(s) or "" if s == "" then return false end if not SeekQuote then SeekQuote = mw.ustring.char( 34, -- " 39, -- ' 171, -- laquo 187, -- raquo 8216, -- lsquo 8217, -- rsquo 8218, -- sbquo 8220, -- ldquo 8221, -- rdquo 8222, -- bdquo 8249, -- lsaquo 8250, -- rsaquo 0x300C, -- CJK 0x300D, -- CJK 0x300E, -- CJK 0x300F ) -- CJK end return mw.ustring.find( SeekQuote, s, 1, true ) ~= nil end -- Text.isQuote() Text.listToText = function ( args, adapt ) -- Format list items similar to mw.text.listToText() -- Parameter: -- args -- table (sequence) with numKey=string -- adapt -- string (optional); format including "%s" -- Returns: string return mw.text.listToText(trimAndFormat(args, adapt)) end -- Text.listToText() Text.quote = function ( apply, alien, advance ) -- Quote text -- Parameter: -- apply -- string, with text -- alien -- string, with language code, or nil -- advance -- number, with level 1 or 2, or nil -- Returns: quoted string apply = apply and tostring(apply) or "" local mode, slang if type( alien ) == "string" then slang = mw.text.trim( alien ):lower() else slang = mw.title.getCurrentTitle().pageLanguage if not slang then -- TODO FIXME: Introduction expected 2017-04 slang = mw.language.getContentLanguage():getCode() end end if advance == 2 then mode = 2 else mode = 1 end return fiatQuote( mw.text.trim( apply ), slang, mode ) end -- Text.quote() Text.quoteUnquoted = function ( apply, alien, advance ) -- Quote text, if not yet quoted and not empty -- Parameter: -- apply -- string, with text -- alien -- string, with language code, or nil -- advance -- number, with level 1 or 2, or nil -- Returns: string; possibly quoted local r = mw.text.trim( apply and tostring(apply) or "" ) local s = mw.ustring.sub( r, 1, 1 ) if s ~= "" and not Text.isQuote( s, advance ) then s = mw.ustring.sub( r, -1, 1 ) if not Text.isQuote( s ) then r = Text.quote( r, alien, advance ) end end return r end -- Text.quoteUnquoted() Text.removeDiacritics = function ( adjust ) -- Remove all diacritics -- Parameter: -- adjust -- string -- Returns: string; all latin letters should be ASCII -- or basic greek or cyrillic or symbols etc. local cleanup, decomposed if not PatternCombined then PatternCombined = mw.ustring.char( 91, 0x0300, 45, 0x036F, 0x1AB0, 45, 0x1AFF, 0x1DC0, 45, 0x1DFF, 0xFE20, 45, 0xFE2F, 93 ) end decomposed = mw.ustring.toNFD( adjust and tostring(adjust) or "" ) cleanup = mw.ustring.gsub( decomposed, PatternCombined, "" ) return mw.ustring.toNFC( cleanup ) end -- Text.removeDiacritics() Text.sentenceTerminated = function ( analyse ) -- Is string terminated by dot, question or exclamation mark? -- Quotation, link termination and so on granted -- Parameter: -- analyse -- string -- Returns: true, if sentence terminated local r if not PatternTerminated then PatternTerminated = mw.ustring.char( 91, 12290, 65281, 65294, 65311 ) .. "!%.%?…][\"'%]‹›«»‘’“”]*$" end if mw.ustring.find( analyse, PatternTerminated ) then r = true else r = false end return r end -- Text.sentenceTerminated() Text.ucfirstAll = function ( adjust) -- Capitalize all words -- Arguments: -- adjust = string to adjust -- Returns: string with all first letters in upper case adjust = adjust and tostring(adjust) or "" local r = mw.text.decode(adjust,true) local i = 1 local c, j, m m = (r ~= adjust) r = " "..r while i do i = mw.ustring.find( r, "%W%l", i ) if i then j = i + 1 c = mw.ustring.upper( mw.ustring.sub( r, j, j ) ) r = string.format( "%s%s%s", mw.ustring.sub( r, 1, i ), c, mw.ustring.sub( r, i + 2 ) ) i = j end end -- while i r = r:sub( 2 ) if m then r = mw.text.encode(r) end return r end -- Text.ucfirstAll() Text.uprightNonlatin = function ( adjust ) -- Ensure non-italics for non-latin text parts -- One single greek letter might be granted -- Precondition: -- adjust -- string -- Returns: string with non-latin parts enclosed in <span> local r initLatinData() if mw.ustring.match( adjust, PatternLatin ) then -- latin only, horizontal dashes, quotes r = adjust else local c local j = false local k = 1 local m = false local n = mw.ustring.len( adjust ) local span = "%s%s<span dir='auto' style='font-style:normal'>%s</span>" local flat = function ( a ) -- isLatin local range for i = 1, #RangesLatin do range = RangesLatin[ i ] if a >= range[ 1 ] and a <= range[ 2 ] then return true end end -- for i end -- flat() local focus = function ( a ) -- char is not ambivalent local r = ( a > 64 ) if r then r = ( a < 8192 or a > 8212 ) else r = ( a == 38 or a == 60 ) -- '&' '<' end return r end -- focus() local form = function ( a ) return string.format( span, r, mw.ustring.sub( adjust, k, j - 1 ), mw.ustring.sub( adjust, j, a ) ) end -- form() r = "" for i = 1, n do c = mw.ustring.codepoint( adjust, i, i ) if focus( c ) then if flat( c ) then if j then if m then if i == m then -- single greek letter. j = false end m = false end if j then local nx = i - 1 local s = "" for ix = nx, 1, -1 do c = mw.ustring.sub( adjust, ix, ix ) if c == " " or c == "(" then nx = nx - 1 s = c .. s else break -- for ix end end -- for ix r = form( nx ) .. s j = false k = i end end elseif not j then j = i if c >= 880 and c <= 1023 then -- single greek letter? m = i + 1 else m = false end end elseif m then m = m + 1 end end -- for i if j and ( not m or m < n ) then r = form( n ) else r = r .. mw.ustring.sub( adjust, k ) end end return r end -- Text.uprightNonlatin() Text.test = function ( about ) local r if about == "quote" then initQuoteData() r = { } r.QuoteLang = QuoteLang r.QuoteType = QuoteType end return r end -- Text.test() -- Export local p = { } for _, func in ipairs({'containsCJK','isLatinRange','isQuote','sentenceTerminated'}) do p[func] = function (frame) return Text[func]( frame.args[ 1 ] or "" ) and "1" or "" end end for _, func in ipairs({'getPlain','removeDiacritics','ucfirstAll','uprightNonlatin'}) do p[func] = function (frame) return Text[func]( frame.args[ 1 ] or "" ) end end function p.char( frame ) local params = frame:getParent().args local story = params[ 1 ] local codes, lenient, multiple if not story then params = frame.args story = params[ 1 ] end if story then local items = mw.text.split( mw.text.trim(story), "%s+" ) if #items > 0 then local j lenient = (yesNo(params.errors) == false) codes = { } multiple = tonumber( params[ "*" ] ) for _, v in ipairs( items ) do j = tonumber((v:sub( 1, 1 ) == "x" and "0" or "") .. v) table.insert( codes, j or v ) end end end return Text.char( codes, multiple, lenient ) end function p.concatParams( frame ) local args local template = frame.args.template if type( template ) == "string" then template = mw.text.trim( template ) template = ( template == "1" ) end if template then args = frame:getParent().args else args = frame.args end return Text.concatParams( args, frame.args.separator, frame.args.format ) end function p.listToFormat(frame) local lists = {} local pformat = frame.args["format"] local sep = frame.args["sep"] or ";" -- Parameter parsen: Listen for k, v in pairs(frame.args) do local knum = tonumber(k) if knum then lists[knum] = v end end -- Listen splitten local maxListLen = 0 for i = 1, #lists do lists[i] = mw.text.split(lists[i], sep) if #lists[i] > maxListLen then maxListLen = #lists[i] end end -- Ergebnisstring generieren local result = "" local result_line = "" for i = 1, maxListLen do result_line = pformat for j = 1, #lists do result_line = mw.ustring.gsub(result_line, "%%s", lists[j][i], 1) end result = result .. result_line end return result end function p.listToText( frame ) local args local template = frame.args.template if type( template ) == "string" then template = mw.text.trim( template ) template = ( template == "1" ) end if template then args = frame:getParent().args else args = frame.args end return Text.listToText( args, frame.args.format ) end function p.quote( frame ) local slang = frame.args[2] if type( slang ) == "string" then slang = mw.text.trim( slang ) if slang == "" then slang = false end end return Text.quote( frame.args[ 1 ] or "", slang, tonumber( frame.args[3] ) ) end function p.quoteUnquoted( frame ) local slang = frame.args[2] if type( slang ) == "string" then slang = mw.text.trim( slang ) if slang == "" then slang = false end end return Text.quoteUnquoted( frame.args[ 1 ] or "", slang, tonumber( frame.args[3] ) ) end function p.zip(frame) local lists = {} local seps = {} local defaultsep = frame.args["sep"] or "" local innersep = frame.args["isep"] or "" local outersep = frame.args["osep"] or "" -- Parameter parsen for k, v in pairs(frame.args) do local knum = tonumber(k) if knum then lists[knum] = v else if string.sub(k, 1, 3) == "sep" then local sepnum = tonumber(string.sub(k, 4)) if sepnum then seps[sepnum] = v end end end end -- sofern keine expliziten Separatoren angegeben sind, den Standardseparator verwenden for i = 1, math.max(#seps, #lists) do if not seps[i] then seps[i] = defaultsep end end -- Listen splitten local maxListLen = 0 for i = 1, #lists do lists[i] = mw.text.split(lists[i], seps[i]) if #lists[i] > maxListLen then maxListLen = #lists[i] end end local result = "" for i = 1, maxListLen do if i ~= 1 then result = result .. outersep end for j = 1, #lists do if j ~= 1 then result = result .. innersep end result = result .. (lists[j][i] or "") end end return result end function p.failsafe() return Text.serial end p.Text = function () return Text end -- p.Text return p 07f1fc4d39342fd92bdae1c5463bbfede7eeda1a 10 148 1018 2022-07-22T08:06:17Z wikipedia>TheDJ 0 breakup super long words, so we do not overflow the viewport. wikitext text/x-wiki <code class="tpl-para" style="word-break:break-word;{{SAFESUBST:<noinclude />#if:{{{plain|}}}|border: none; background-color: inherit;}} {{SAFESUBST:<noinclude />#if:{{{plain|}}}{{{mxt|}}}{{{green|}}}{{{!mxt|}}}{{{red|}}}|color: {{SAFESUBST:<noinclude />#if:{{{mxt|}}}{{{green|}}}|#006400|{{SAFESUBST:<noinclude />#if:{{{!mxt|}}}{{{red|}}}|#8B0000|inherit}}}};}} {{SAFESUBST:<noinclude />#if:{{{style|}}}|{{{style}}}}}">&#124;{{SAFESUBST:<noinclude />#if:{{{1|}}}|{{{1}}}&#61;}}{{{2|}}}</code><noinclude> {{Documentation}} <!--Categories and interwikis go near the bottom of the /doc subpage.--> </noinclude> 06006deea2ed5d552aab61b4332321ab749ae7e8 10 114 952 2022-08-19T21:02:28Z wikipedia>Izno 0 per request wikitext text/x-wiki {{#switch:{{{subst|¬}}} |¬={{category handler |template=[[Category:Templates needing substitution checking]] |nocat={{{nocat|<noinclude>true</noinclude>}}} }} |SUBST=[[Category:Pages with incorrectly substituted templates]] }}{{Category handler |main={{Fix/category |cat-date={{{cat-date|}}} |cat={{{cat|}}} |cat-date2={{{cat-date2|}}} |cat2={{{cat2|}}} |cat-date3={{{cat-date3|}}} |cat3={{{cat3|}}} |date={{{date|}}} }} |template={{#if:{{{name|}}}|{{#ifeq:{{{name}}}|{{ROOTPAGENAME}}||{{#if:{{{date|}}}||[[Category:Templates including undated clean-up tags]]}}}}}} |subpage=no }}{{#if:{{{text|}}} |<sup class="noprint Inline-Template {{{class|}}}" style="white-space:nowrap;">&#91;<i>{{#if:{{{pre-text|}}} |{{{pre-text}}}&#32; }}[[{{{link|Wikipedia:Cleanup}}}|<span title="{{#invoke:string|replace|source={{delink|1={{{title|{{{link|Wikipedia:Cleanup}}}}}}{{#if:{{{date|}}}|&#32;({{{date}}})}}}}|pattern=" |replace=&quot; |plain=true}}">{{{text|}}}</span>]]{{#if:{{{post-text|}}} |&#32;{{{post-text}}} }}</i>&#93;</sup>|{{{special|}}} }}<noinclude> {{Documentation}} <!-- Add cats and interwikis to the /doc subpage, not here! --> </noinclude> 64d5219edf0f07567b3006bfc9681f9408b164b0 0 1 1 2022-08-24T15:08:44Z MediaWiki default 1 Create main page wikitext text/x-wiki __NOTOC__ == Welcome to {{SITENAME}}! == This Main Page was created automatically and it seems it hasn't been replaced yet. === For the bureaucrat(s) of this wiki === Hello, and welcome to your new wiki! Thank you for choosing Miraheze for the hosting of your wiki, we hope you will enjoy our hosting. You can immediately start working on your wiki or whenever you want. Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, the default Main Page of this wiki (this page) has not yet been replaced by the bureaucrat(s) of this wiki. The bureaucrat(s) might still be working on a Main Page, so please check again later! 21236ac3f8d65e5563b6da6b70815ca6bf1e6616 12 1 2022-08-29T16:27:06Z Matrim112830 2 wikitext text/x-wiki __NOTOC__ == Welcome to {{SITENAME}}! == This Main Page was created automatically and it seems it hasn't been replaced yet. The main page might be replaced by [[ ]] === For the bureaucrat(s) of this wiki === Hello, and welcome to your new wiki! Thank you for choosing Miraheze for the hosting of your wiki, we hope you will enjoy our hosting. You can immediately start working on your wiki or whenever you want. Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, the default Main Page of this wiki (this page) has not yet been replaced by the bureaucrat(s) of this wiki. The bureaucrat(s) might still be working on a Main Page, so please check again later! 47b062229bfa0d8aff19f63c4e103f760c441e54 13 12 2022-08-29T16:27:41Z Matrim112830 2 wikitext text/x-wiki __NOTOC__ == Welcome to {{SITENAME}}! == This Main Page was created automatically and it seems it hasn't been replaced yet. The main page might be replaced by [[ WRIT 30243.074 (75487)]] in the future. === For the bureaucrat(s) of this wiki === Hello, and welcome to your new wiki! Thank you for choosing Miraheze for the hosting of your wiki, we hope you will enjoy our hosting. You can immediately start working on your wiki or whenever you want. Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, the default Main Page of this wiki (this page) has not yet been replaced by the bureaucrat(s) of this wiki. The bureaucrat(s) might still be working on a Main Page, so please check again later! 21467144d5205487d5a743ea1c5323bb6abb4367 14 13 2022-08-29T16:28:26Z Matrim112830 2 wikitext text/x-wiki __NOTOC__ == Welcome to {{SITENAME}}! == This Main Page was created automatically and it seems it hasn't been replaced yet. For our course page visit [[ WRIT 30243.074 (75487)]]. === For the bureaucrat(s) of this wiki === Hello, and welcome to your new wiki! 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The bureaucrat(s) might still be working on a Main Page, so please check again later! f5a17f9eefd8a7336b36c28ecaf05ee44d5e4cb0 0 2 2 2022-08-25T22:50:20Z Matrim112830 2 Created page with "Creating WRIT 30243.074 (75487) also known as Rhetorical Practices in Culture - Queer Rhetorics was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022. == History == == Original Participants == == Log == == Notes ==" wikitext text/x-wiki Creating WRIT 30243.074 (75487) also known as Rhetorical Practices in Culture - Queer Rhetorics was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022. == History == == Original Participants == == Log == == Notes == a1ae493556db0f073eb6e1738b9a41397d7c04f3 3 2 2022-08-25T22:51:08Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022. == History == == Original Participants == == Log == == Notes == 516d643ce301b683d16649467843f68a409dc50c 4 3 2022-08-29T15:53:53Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.[https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] == History == == Original Participants == == Log == == Notes == 4b6e31264e9c2316c2be3a278eab07fde09c7fb4 5 4 2022-08-29T15:58:06Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.[https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] == History == == Original Participants == == Log == Foo<ref group="notes" name="ref1">note 1</ref><ref group="notes" name="ref1"></ref>. Bar<ref name="ref2">source 1</ref>. == Notes == <references group="notes"/> == References == <references/> ada8223c58f37bc63ce41d470dc94f50152e1623 6 5 2022-08-29T15:59:34Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.[https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] == History == == Original Participants == == Log == Bar<ref name="ref2">source 1</ref>. == References == <references/> 575add19d3c41fea8528392f1f4bfccffa16ce5c 7 6 2022-08-29T16:02:53Z Matrim112830 2 wikitext text/x-wiki >WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>[https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> == History == == Original Participants == == Log == Bar<ref name="ref2">source 1</ref>. == References == <references/> 8d178c172e03775787b11e830cdea5e0cc62f014 8 7 2022-08-29T16:03:47Z Matrim112830 2 wikitext text/x-wiki >WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>[https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> == History == == Original Participants == == Log == == Notes == == References == <references/> a3c02f24332d1a362895b6943f966702e0accd68 9 8 2022-08-29T16:06:29Z Matrim112830 2 wikitext text/x-wiki >WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions from https://addran.tcu.edu/english/current-students/courses.php [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> == History == == Original Participants == == Log == == Notes == == References == <references/> dabbc1bf46acca56ebc744b89dfa2dca34fa295b 10 9 2022-08-29T16:11:46Z Matrim112830 2 wikitext text/x-wiki >WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == History == == Original Participants == == Log == == Notes == == References == <references/> 46478f6fa2bcfc7432146d03b2d0728725d38793 11 10 2022-08-29T16:12:26Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == History == == Original Participants == == Log == == Notes == == References == <references/> 11342aece859ccc1c932f26c90ead10e7a9aded0 0 1 15 14 2022-08-29T16:30:31Z Matrim112830 2 wikitext text/x-wiki __NOTOC__ == Welcome to {{SITENAME}}! == For our course page visit [[ WRIT 30243.074 (75487)]]. === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. 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It -- -- implements the {{hatnote}} and {{format link}} meta-templates and includes -- -- helper functions for other Lua hatnote modules. -- -------------------------------------------------------------------------------- local libraryUtil = require('libraryUtil') local checkType = libraryUtil.checkType local checkTypeForNamedArg = libraryUtil.checkTypeForNamedArg local mArguments -- lazily initialise [[Module:Arguments]] local yesno -- lazily initialise [[Module:Yesno]] local formatLink -- lazily initialise [[Module:Format link]] ._formatLink local p = {} -------------------------------------------------------------------------------- -- Helper functions -------------------------------------------------------------------------------- local function getArgs(frame) -- Fetches the arguments from the parent frame. Whitespace is trimmed and -- blanks are removed. mArguments = require('Module:Arguments') return mArguments.getArgs(frame, {parentOnly = true}) end local function removeInitialColon(s) -- Removes the initial colon from a string, if present. return s:match('^:?(.*)') end function p.defaultClasses(inline) -- Provides the default hatnote classes as a space-separated string; useful -- for hatnote-manipulation modules like [[Module:Hatnote group]]. return (inline == 1 and 'hatnote-inline' or 'hatnote') .. ' ' .. 'navigation-not-searchable' end function p.disambiguate(page, disambiguator) -- Formats a page title with a disambiguation parenthetical, -- i.e. "Example" → "Example (disambiguation)". checkType('disambiguate', 1, page, 'string') checkType('disambiguate', 2, disambiguator, 'string', true) disambiguator = disambiguator or 'disambiguation' return mw.ustring.format('%s (%s)', page, disambiguator) end function p.findNamespaceId(link, removeColon) -- Finds the namespace id (namespace number) of a link or a pagename. This -- function will not work if the link is enclosed in double brackets. Colons -- are trimmed from the start of the link by default. To skip colon -- trimming, set the removeColon parameter to false. checkType('findNamespaceId', 1, link, 'string') checkType('findNamespaceId', 2, removeColon, 'boolean', true) if removeColon ~= false then link = removeInitialColon(link) end local namespace = link:match('^(.-):') if namespace then local nsTable = mw.site.namespaces[namespace] if nsTable then return nsTable.id end end return 0 end function p.makeWikitextError(msg, helpLink, addTrackingCategory, title) -- Formats an error message to be returned to wikitext. If -- addTrackingCategory is not false after being returned from -- [[Module:Yesno]], and if we are not on a talk page, a tracking category -- is added. checkType('makeWikitextError', 1, msg, 'string') checkType('makeWikitextError', 2, helpLink, 'string', true) yesno = require('Module:Yesno') title = title or mw.title.getCurrentTitle() -- Make the help link text. local helpText if helpLink then helpText = ' ([[' .. helpLink .. '|help]])' else helpText = '' end -- Make the category text. local category if not title.isTalkPage -- Don't categorise talk pages and title.namespace ~= 2 -- Don't categorise userspace and yesno(addTrackingCategory) ~= false -- Allow opting out then category = 'Hatnote templates with errors' category = mw.ustring.format( '[[%s:%s]]', mw.site.namespaces[14].name, category ) else category = '' end return mw.ustring.format( '<strong class="error">Error: %s%s.</strong>%s', msg, helpText, category ) end local curNs = mw.title.getCurrentTitle().namespace p.missingTargetCat = --Default missing target category, exported for use in related modules ((curNs == 0) or (curNs == 14)) and 'Articles with hatnote templates targeting a nonexistent page' or nil function p.quote(title) --Wraps titles in quotation marks. If the title starts/ends with a quotation --mark, kerns that side as with {{-'}} local quotationMarks = { ["'"]=true, ['"']=true, ['“']=true, ["‘"]=true, ['”']=true, ["’"]=true } local quoteLeft, quoteRight = -- Test if start/end are quotation marks quotationMarks[string.sub(title, 1, 1)], quotationMarks[string.sub(title, -1, -1)] if quoteLeft or quoteRight then title = mw.html.create("span"):wikitext(title) end if quoteLeft then title:css("padding-left", "0.15em") end if quoteRight then title:css("padding-right", "0.15em") end return '"' .. tostring(title) .. '"' end -------------------------------------------------------------------------------- -- Hatnote -- -- Produces standard hatnote text. Implements the {{hatnote}} template. -------------------------------------------------------------------------------- function p.hatnote(frame) local args = getArgs(frame) local s = args[1] if not s then return p.makeWikitextError( 'no text specified', 'Template:Hatnote#Errors', args.category ) end return p._hatnote(s, { extraclasses = args.extraclasses, selfref = args.selfref }) end function p._hatnote(s, options) checkType('_hatnote', 1, s, 'string') checkType('_hatnote', 2, options, 'table', true) options = options or {} local inline = options.inline local hatnote = mw.html.create(inline == 1 and 'span' or 'div') local extraclasses if type(options.extraclasses) == 'string' then extraclasses = options.extraclasses end hatnote :attr('role', 'note') :addClass(p.defaultClasses(inline)) :addClass(extraclasses) :addClass(options.selfref and 'selfref' or nil) :wikitext(s) return mw.getCurrentFrame():extensionTag{ name = 'templatestyles', args = { src = 'Module:Hatnote/styles.css' } } .. tostring(hatnote) end return p 3ae1ed7094c5005ca0896395ec9a587287a0bef1 828 140 1004 2022-09-05T18:21:32Z wikipedia>Nihiltres 0 Updated from sandbox: Migrated p._quote to Module:Hatnote Scribunto text/plain --[[ -- This module produces a "redirect" hatnote. It looks like this: -- '"X" redirects here. For other uses, see Y.' -- It implements the {{redirect}} template. --]] local mHatnote = require('Module:Hatnote') local mHatList = require('Module:Hatnote list') local mArguments --lazily initialize local libraryUtil = require('libraryUtil') local checkType = libraryUtil.checkType local checkTypeMulti = libraryUtil.checkTypeMulti local p = {} -------------------------------------------------------------------------------- -- Helper functions -------------------------------------------------------------------------------- local function getTitle(...) --Calls mw.title.new and returns either a title object, or nil on error local success, titleObj = pcall(mw.title.new, ...) return success and titleObj or nil end -------------------------------------------------------------------------------- -- Main functions -------------------------------------------------------------------------------- function p.redirect(frame) mArguments = require('Module:Arguments') local args = mArguments.getArgs(frame, {parentOnly=true}) --Get number of redirects local numRedirects = tonumber(frame.args[1]) or 1 -- Create the options table. local options = {} options.selfref = args.selfref return p._redirect(args, numRedirects, options) end function p._redirect(args, numRedirects, options, currentTitle, redirectTitle, targetTitle) -- Validate the input. Don't bother checking currentTitle, redirectTitle or -- targetTitle, as they are only used in testing. checkType('_redirect', 1, args, 'table') checkType('_redirect', 2, numRedirects, 'number', true) numRedirects = numRedirects or 1 checkType('_redirect', 3, options, 'table', true) options = options or {} currentTitle = currentTitle or mw.title.getCurrentTitle() -- Get the table of redirects local redirect = {} for i = 1, numRedirects do -- Return an error if a redirect parameter is missing. if not args[i] then return mHatnote.makeWikitextError( 'missing redirect parameter', 'Template:Redirect#Errors', args.category ) end redirect[i] = args[i] end -- Generate the text. local formattedRedirect = {} for k,v in pairs(redirect) do formattedRedirect[k] = mHatnote.quote(v) end local text = { mHatList.andList(formattedRedirect) .. ' ' .. (#redirect == 1 and 'redirects' or 'redirect') .. ' here.', mHatList._forSee(args, #redirect + 1, {title = redirect[1], extratext = args.text}) } text = table.concat(text, ' ') -- Functionality for adding categories local categoryTable = {} local function addCategory(cat) if cat and cat ~= '' then -- Add by index to avoid duplicates categoryTable[string.format('[[Category:%s]]', cat)] = true end end --Generate tracking categories local mhOptions = {} local redirTitle for k,v in pairs(redirect) do -- We don't need a tracking category if the template invocation has been -- copied directly from the docs, or if we aren't in main- or category-space. if not v:find('^REDIRECT%d*$') and v ~= 'TERM' -- and currentTitle.namespace == 0 or currentTitle.namespace == 14 then redirTitle = redirectTitle or getTitle(v) if not redirTitle or not redirTitle.exists then addCategory('Missing redirects') elseif not redirTitle.isRedirect then if string.find(redirTitle:getContent(), '#invoke:RfD') then addCategory('Articles with redirect hatnotes impacted by RfD') else addCategory('Articles with redirect hatnotes needing review') end else local target = targetTitle or redirTitle.redirectTarget if target and target ~= currentTitle then addCategory('Articles with redirect hatnotes needing review') end end end -- Generate the options to pass to [[Module:Hatnote]]. if currentTitle.namespace == 0 and not mhOptions.selfref and redirTitle and redirTitle.namespace ~= 0 then -- We are on a mainspace page, and the hatnote starts with something -- like "Wikipedia:Foo redirects here", so automatically label it as -- a self-reference. mhOptions.selfref = true else mhOptions.selfref = options.selfref end end --concatenate all the categories local category = '' for k,v in pairs(categoryTable) do category = category .. k end return mHatnote._hatnote(text, mhOptions) .. category end return p 6609c6166f6a1124c96c97915bc7b4182f1874f9 0 2 16 11 2022-09-07T21:15:20Z Efbanks 5 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == History == == slay == == Original Participants == == Log == == Notes == == References == <references/> 324b36b7ac6a4cecc171bdc29d093af14bcbcf01 0 3 17 2022-09-07T21:22:22Z Efbanks 5 Created page with "Libby Banks == Major == == Hobbies == == Hometown == == Future Plans == == Favorite Books == == Family ==" wikitext text/x-wiki Libby Banks == Major == == Hobbies == == Hometown == == Future Plans == == Favorite Books == == Family == 7f9daa9e20d5178aa286b773424d7f6ad0c4b981 29 17 2022-09-07T21:26:43Z Efbanks 5 wikitext text/x-wiki Libby Banks == Major == <ref>English</ref> == Hobbies == == Hometown == == Future Plans == == Favorite Books == == Family == == references == <references/> de1d25c63b25571f449ca0e3fc6987b055149e5c 42 29 2022-09-07T21:30:51Z Efbanks 5 wikitext text/x-wiki Libby Banks == Major == <ref>English</ref> [https://addran.tcu.edu/english/index.php] == Hobbies == == Hometown == == Future Plans == == Favorite Books == == Family == == references == <references/> 2bffd927f665f089820e7496220f651787fa8f09 47 42 2022-09-07T21:32:40Z Efbanks 5 wikitext text/x-wiki Libby Banks == Major == English<ref>English</ref> [https://addran.tcu.edu/english/index.php] == Hobbies == == Hometown == == Future Plans == == Favorite Books == == Family == == references == <references/> a25857cd40fea6c46aa12665d4b19ebaaca68de9 49 47 2022-09-07T21:33:21Z Efbanks 5 wikitext text/x-wiki Libby Banks == Major == English [https://addran.tcu.edu/english/index.php TCU English Website] == Hobbies == == Hometown == == Future Plans == == Favorite Books == == Family == == references == <references/> 0655bb4716020203efb46bd7dd8c4dca6e0dfbaa 50 49 2022-09-07T21:34:34Z Efbanks 5 wikitext text/x-wiki Libby Banks == Major == English <ref>[https://addran.tcu.edu/english/index.php] TCU English Website </ref> == Hobbies == == Hometown == == Future Plans == == Favorite Books == == Family == == references == <references/> 6bd501ca43b0cee141524d3050e8867453a10c37 0 4 18 2022-09-07T21:22:41Z Schilds 7 Created page with "Savannah is a person created by two parents. <ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == History == Savannah has a history, which can be found by speaking directly to her. == Likes == C..." wikitext text/x-wiki Savannah is a person created by two parents. <ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == History == Savannah has a history, which can be found by speaking directly to her. == Likes == Cartoons == Dislikes == Difficult readings == Pets == Savannah has five cats and one dog == References == <references/> c6d64d2438668ab3b21ec82e0fa9e0d275b48a93 30 18 2022-09-07T21:26:44Z Schilds 7 wikitext text/x-wiki Savannah is a person created by two parents. == History == <ref>Savannah has a history, which can be found by speaking directly to her.</ref> == Likes == Cartoons == Dislikes == Difficult readings == Pets == Savannah has five cats and one dog == References == <references/> 4b2860b1e91a3243ce6cc79690e322dd458f982c 41 30 2022-09-07T21:30:21Z Schilds 7 wikitext text/x-wiki Savannah is a person created by two parents. == History == Savannah has a history, which can be found by speaking directly to her. == Likes == Cartoons Cats <ref>[https://www.youtube.com/watch?v=PpsTCqccCdY Example]</ref> == Dislikes == Difficult readings == Pets == Savannah has five cats and one dog == References == <references/> 8a4b2e67c936e1d7e8bce7cb69da7ebde2bdeffd 59 41 2022-09-07T21:36:33Z Schilds 7 wikitext text/x-wiki Savannah is a person created by two parents. == History == Savannah has a history, which can be found by speaking directly to her. == Likes == Cartoons, Cats <ref>[https://www.youtube.com/watch?v=PpsTCqccCdY Example]</ref> == Dislikes == Difficult readings == Pets == Savannah has five cats and one dog == References == <references/> 68a69243e80cd968009456180194d767f06b1049 0 5 19 2022-09-07T21:23:08Z Julietelena2 14 Created page with "Juliet (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-student..." wikitext text/x-wiki Juliet (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Harry Styles == == Favorite Books == == Favorite Movies == == Dolly == == Notes == == References == <references/> 3d23e7541df52a15c1b23acb006d9c155299b1d2 23 19 2022-09-07T21:24:17Z Julietelena2 14 wikitext text/x-wiki Juliet i am an evermore girlie in my reputation era <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Harry Styles == == Favorite Books == == Favorite Movies == == Dolly == == Notes == == References == <references/> ecfba8a77e5454319558cbdeec83f8d9863d5212 24 23 2022-09-07T21:24:34Z Julietelena2 14 wikitext text/x-wiki i am an evermore girlie in my reputation era <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Harry Styles == == Favorite Books == == Favorite Movies == == Dolly == == Notes == == References == <references/> b1acab522ca5fb760eadabd38aa5d1571c784617 31 24 2022-09-07T21:26:50Z Julietelena2 14 wikitext text/x-wiki i am an evermore girlie in my reputation era <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Harry Styles == <ref>heart</ref> == Favorite Books == == Favorite Movies == == Dolly == == Notes == == References == <references/> 4e2608c44a86136aea40c425ac63e396780061c9 43 31 2022-09-07T21:30:58Z Julietelena2 14 wikitext text/x-wiki i am an evermore girlie in my reputation era <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Harry Styles == <ref>heart</ref> [https://www.hstyles.co.uk/] == Favorite Books == == Favorite Movies == == Dolly == == Notes == == References == <references/> 507645f7745f5a23aa312daed03efbe04f033639 44 43 2022-09-07T21:31:42Z Julietelena2 14 wikitext text/x-wiki i am an evermore girlie in my reputation era <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Harry Styles == == Favorite Books == == Favorite Movies == == Dolly == == Notes == == References == <references/> b1acab522ca5fb760eadabd38aa5d1571c784617 54 44 2022-09-07T21:35:47Z Julietelena2 14 wikitext text/x-wiki i am an evermore girlie in my reputation era <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Harry Styles == Harry [https://www.hstyles.co.uk/ Harry] == Favorite Books == == Favorite Movies == == Dolly == == Notes == == References == <references/> 9ed1991c06cd5cc345842e5211084b9d3c6a1e36 58 54 2022-09-07T21:36:23Z Julietelena2 14 /* Harry Styles */ wikitext text/x-wiki i am an evermore girlie in my reputation era <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Harry Styles == Harry [https://www.hstyles.co.uk/ Harry] Harry Styles website </ref> == Favorite Books == == Favorite Movies == == Dolly == == Notes == == References == <references/> 68647e2c950d3757d3ba8ac06774fb7965a7bfd3 0 6 20 2022-09-07T21:23:24Z Emma Kate 9 Created page with "Emma Kate Howard == hey == i would like to be sleeping right now == hi == == hello == == howdy == == let's go girls == == References == <references/>" wikitext text/x-wiki Emma Kate Howard == hey == i would like to be sleeping right now == hi == == hello == == howdy == == let's go girls == == References == <references/> d48f08afa64b99866ac45a59ab1845fd498db65b 56 20 2022-09-07T21:35:55Z Emma Kate 9 wikitext text/x-wiki Emma Kate Howard == hey == i would like to be sleeping right now [https://www.dictionary.com/browse/naptime] == hi == == hello == == howdy == == let's go girls == == references == <references/> 7df5ba735dc600056dfcdc9815440913969778ac 61 56 2022-09-07T21:36:48Z Emma Kate 9 wikitext text/x-wiki Emma Kate Howard == hey == i would like to be sleeping right now [https://www.dictionary.com/browse/naptime] it's naptime </ref> == hi == == hello == == howdy == == let's go girls == == references == <references/> d78eacbff4ec43719a9706177ba4eaf2543712fc 0 7 21 2022-09-07T21:23:26Z Catherinecunningham 8 Created page with "Catherine Cunningham == Kim Kardashian is the most famous woman in the world == == Harry Styles spit on Chris Pine == == Folklore is the best TS album == == Fuck the Patriarchy == == Fred is the hottest Weasley == == Fall is the best season of the year #QueRedTV == <references/>" wikitext text/x-wiki Catherine Cunningham == Kim Kardashian is the most famous woman in the world == == Harry Styles spit on Chris Pine == == Folklore is the best TS album == == Fuck the Patriarchy == == Fred is the hottest Weasley == == Fall is the best season of the year #QueRedTV == <references/> 890a26a1c34d78112dfcd7c1e4a20112dd895a28 32 21 2022-09-07T21:27:02Z Catherinecunningham 8 wikitext text/x-wiki Catherine Cunningham == Kim Kardashian is the most famous woman in the world == == Harry Styles spit on Chris Pine == == Folklore is the best TS album == <ref>Exile is so incredible there is no question</ref> == Fuck the Patriarchy == == Fred is the hottest Weasley == == Fall is the best season of the year #QueRedTV == == References == <references/> c4a9681cf2d623db4fa3c2de30c93458ed592f5b 40 32 2022-09-07T21:29:56Z Catherinecunningham 8 wikitext text/x-wiki Catherine Cunningham == Kim Kardashian is the most famous woman in the world == [https://www.interviewmagazine.com/culture/kim-kardashian-bares-all There is no one more famous than Kimmy K!!] == Harry Styles spit on Chris Pine == == Folklore is the best TS album == <ref>Exile is so incredible there is no question</ref> == Fuck the Patriarchy == == Fred is the hottest Weasley == == Fall is the best season of the year #QueRedTV == == References == <references/> ab5b7e42c64584be329f2c968fcf45ec99285c02 0 8 22 2022-09-07T21:23:58Z 138.237.26.124 0 Created page with "Disidentification is a <ref>a;dlksjfa;sdlkfj</ref> == Background == == Jose Esteban Munoz == == Established examples == == Potential examples == <references/>" wikitext text/x-wiki Disidentification is a <ref>a;dlksjfa;sdlkfj</ref> == Background == == Jose Esteban Munoz == == Established examples == == Potential examples == <references/> 3b095c4dc29bd43e7db3e7d05570512f689dd219 26 22 2022-09-07T21:24:58Z Matrim112830 2 wikitext text/x-wiki Disidentification is a <ref>a;dlksjfa;sdlkfj</ref> == Background == == Jose Esteban Munoz == == Established examples == == Potential examples == == References == <references/> 9cdab4ca6e292162210266695889812a6ab4ce9e 0 9 25 2022-09-07T21:24:35Z Brwilson1 12 Created page with "Brooklyn Wilson == Major == == Hometown == == Favorite Things == == Travel Plans == = Fav Albums= == Notes == == References == <references/>" wikitext text/x-wiki Brooklyn Wilson == Major == == Hometown == == Favorite Things == == Travel Plans == = Fav Albums= == Notes == == References == <references/> ab13c4ede4f28522836028640d95090e5d69adcb 34 25 2022-09-07T21:27:43Z Brwilson1 12 wikitext text/x-wiki Brwilson1 == Major== <ref>English</ref> == Hometown == == Favorite Things == == Travel Plans == = Fav Albums= == Notes == == References == <references/> 446bf1ec132b01da58e21632943f0069dcbf3650 0 10 27 2022-09-07T21:25:34Z 138.237.15.6 0 Created page with "Amanda (75487) , Tswizz pickle loving baddie with an affinity for the color pink [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Taylor Swift == == Feminism == == Cats == == Pink == == Notes == == References == <references/>" wikitext text/x-wiki Amanda (75487) , Tswizz pickle loving baddie with an affinity for the color pink [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Taylor Swift == == Feminism == == Cats == == Pink == == Notes == == References == <references/> 9c8201842751391307def05e708defff5c7c9e6a 53 27 2022-09-07T21:35:34Z 138.237.15.6 0 wikitext text/x-wiki [https://www.taylorswift.com/ Taylor]Amanda (75487) , Tswizz pickle loving baddie with an affinity for the color pink [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Taylor Swift == == Feminism == == Cats == == Pink == == Notes == == References == <references/> 01cd1332fb0ed99687e13379297dbb66936c010e 0 11 28 2022-09-07T21:25:41Z Jazzypug2010 16 Created page with "Jessica also known as "Jazzy Pug" == Slay == == Extra Slay == == Extra Extra Slay == == Log == == Notes == == References == <references/>" wikitext text/x-wiki Jessica also known as "Jazzy Pug" == Slay == == Extra Slay == == Extra Extra Slay == == Log == == Notes == == References == <references/> fd869fc9b2736fbb259ad0cd19a10f3e09dff6d8 37 28 2022-09-07T21:28:53Z Jazzypug2010 16 wikitext text/x-wiki Jessica also known as "Jazzy Pug" == Hobbies == == Music == == Movies == == Breakfast Tacos == == Future Plans == == References == <references/> 13ae555753af1b80f339ea5f770e4ccb7a4f225b 0 12 33 2022-09-07T21:27:33Z Luretame 6 Created page with "Luretame (born Breann Borlay; 2002 - ), also known by their pen name, Nahari E., is a writer, artist, painter, and junior English and Sociology major at Texas Christian University. <ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/c..." wikitext text/x-wiki Luretame (born Breann Borlay; 2002 - ), also known by their pen name, Nahari E., is a writer, artist, painter, and junior English and Sociology major at Texas Christian University. <ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Early History == Luretame was born on July 6th, 2002, in Tulsa, Oklahoma. == slay == == Original Participants == == Log == == Notes == == References == <references/> c43eb9d5fce0c833915a11f88c0332a8d8e7e27a 38 33 2022-09-07T21:29:38Z Luretame 6 wikitext text/x-wiki Luretame (born Breann Borlay; 2002 - ), also known by their pen name, Nahari E., is a Liberian-American writer, artist, painter, and junior English and Sociology major at Texas Christian University. <ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Early History == Luretame was born on July 6th, 2002, in Tulsa, Oklahoma. == slay == == Original Participants == == Log == == Notes == == References == <references/> f23b211ed9a79f3d59edeb947574ef204d0432ca 0 13 35 2022-09-07T21:28:12Z Sofun 15 Created page with "Sofun </ref> == Hometown == == Major == == Hobbies == == Idk == == Future Plans == == Cool == <references/>" wikitext text/x-wiki Sofun </ref> == Hometown == == Major == == Hobbies == == Idk == == Future Plans == == Cool == <references/> 44bcae39e91824bef99456fe42395a483730010e 39 35 2022-09-07T21:29:40Z Sofun 15 wikitext text/x-wiki Sofun == Hometown == == Major == == Hobbies == == Idk == == Future Plans == == Cool == <references/> b26daa2be35e62522c06fc68f7151d38f7b94acc 0 14 36 2022-09-07T21:28:35Z 9thSaturn 4 Created page with "Christina Phillips (9thSaturn) is a writer, both of the fictional and poetic varieties. She has also, from time to time, been known to bake a bitchin' ass cheesecake. Known participant of Pining Victorian Girl Autumn. ==Favorite Album== Evermore-Taylor Swift == Favorite Food == Literally any mac and cheese == Favorite Book == Stalking Jack the Ripper-Kerri Maniscalco == Favorite Nathanial Hawthorne Short Story == The Birthmark == Favorite Taylor Swift Song == The Lakes..." wikitext text/x-wiki Christina Phillips (9thSaturn) is a writer, both of the fictional and poetic varieties. She has also, from time to time, been known to bake a bitchin' ass cheesecake. Known participant of Pining Victorian Girl Autumn. ==Favorite Album== Evermore-Taylor Swift == Favorite Food == Literally any mac and cheese == Favorite Book == Stalking Jack the Ripper-Kerri Maniscalco == Favorite Nathanial Hawthorne Short Story == The Birthmark == Favorite Taylor Swift Song == The Lakes (duh) == References == <references/> a13b7b59d03d8d4d103bfd9dd500ae9c507a76d5 46 36 2022-09-07T21:32:26Z 9thSaturn 4 wikitext text/x-wiki Christina Phillips (9thSaturn) is a writer, both of the fictional and poetic varieties. She has also, from time to time, been known to bake a bitchin' ass cheesecake. Known participant of Pining Victorian Girl Autumn. ==Favorite Album== Evermore-Taylor Swift == Favorite Food == Literally any mac and cheese [https://www.cheetos.com/products/cheetos-mac-n-cheese-bold-cheesy] == Favorite Book == Stalking Jack the Ripper-Kerri Maniscalco == Favorite Nathanial Hawthorne Short Story == The Birthmark == Favorite Taylor Swift Song == The Lakes (duh) == References == <references/> 480165a83f5cd9495acca4a82ab2827c12af2b23 48 46 2022-09-07T21:33:13Z 9thSaturn 4 wikitext text/x-wiki Christina Phillips (9thSaturn) is a writer, both of the fictional and poetic varieties. She has also, from time to time, been known to bake a bitchin' ass cheesecake. Known participant of Pining Victorian Girl Autumn. ==Favorite Album== Evermore-Taylor Swift == Favorite Food == Literally any mac and cheese <ref/> [https://www.cheetos.com/products/cheetos-mac-n-cheese-bold-cheesy] == Favorite Book == Stalking Jack the Ripper-Kerri Maniscalco == Favorite Nathanial Hawthorne Short Story == The Birthmark == Favorite Taylor Swift Song == The Lakes (duh) == References == <references/> 95d390820485f29809d27161bb1379f0eee0b210 51 48 2022-09-07T21:34:42Z 9thSaturn 4 wikitext text/x-wiki Christina Phillips (9thSaturn) is a writer, both of the fictional and poetic varieties. She has also, from time to time, been known to bake a bitchin' ass cheesecake. Known participant of Pining Victorian Girl Autumn. ==Favorite Album== Evermore-Taylor Swift == Favorite Food == Literally any mac and cheese <ref>[https://www.cheetos.com/products/cheetos-mac-n-cheese-bold-cheesy Click here for a personal fave.] == Favorite Book == Stalking Jack the Ripper-Kerri Maniscalco == Favorite Nathanial Hawthorne Short Story == The Birthmark == Favorite Taylor Swift Song == The Lakes (duh) == References == <references/> c15b0c580a6b94dd83844202a49f7f12be557f42 52 51 2022-09-07T21:35:22Z 9thSaturn 4 wikitext text/x-wiki Christina Phillips (9thSaturn) is a writer, both of the fictional and poetic varieties. She has also, from time to time, been known to bake a bitchin' ass cheesecake. Known participant of Pining Victorian Girl Autumn. ==Favorite Album== Evermore-Taylor Swift == Favorite Food == Literally any mac and cheese [https://www.cheetos.com/products/cheetos-mac-n-cheese-bold-cheesy Click here for a personal fave.] == Favorite Book == Stalking Jack the Ripper-Kerri Maniscalco == Favorite Nathanial Hawthorne Short Story == The Birthmark == Favorite Taylor Swift Song == The Lakes (duh) == References == <references/> 56cf70e24a0282613398a4f6be2e4016368a8c40 57 52 2022-09-07T21:35:59Z 9thSaturn 4 wikitext text/x-wiki Christina Phillips (9thSaturn) is a writer, both of the fictional and poetic varieties. She has also, from time to time, been known to bake a bitchin' ass cheesecake. Known participant of Pining Victorian Girl Autumn. ==Favorite Album== Evermore-Taylor Swift == Favorite Food == Literally any mac and cheese <ref>[https://www.cheetos.com/products/cheetos-mac-n-cheese-bold-cheesy Click here for a personal fave.]</ref> == Favorite Book == Stalking Jack the Ripper-Kerri Maniscalco == Favorite Nathanial Hawthorne Short Story == The Birthmark == Favorite Taylor Swift Song == The Lakes (duh) == References == <references/> 8b55fd5efc30bd4c7f3042d21d30bd81ee7d3940 62 57 2022-09-07T21:37:12Z 9thSaturn 4 wikitext text/x-wiki Christina Phillips (9thSaturn) is a writer, both of the fictional and poetic varieties. She has also, from time to time, been known to bake a bitchin' ass cheesecake. Known participant of Pining Victorian Girl Autumn. ==Favorite Album== Evermore-Taylor Swift == Favorite Food == Literally any mac and cheese <ref>[https://www.cheetos.com/products/cheetos-mac-n-cheese-bold-cheesy ]God's greatest sin, Cheeto-flavored mac and cheese</ref> == Favorite Book == Stalking Jack the Ripper-Kerri Maniscalco == Favorite Nathanial Hawthorne Short Story == The Birthmark == Favorite Taylor Swift Song == The Lakes (duh) == References == <references/> 77f066de16703d7067e7651e09f06027f4451a61 0 15 45 2022-09-07T21:31:54Z Angel23 17 Created page with "Angel == Major == Secondary Education in English == Culture == == Hobbies == == Passions == == Unpopular Opinions == == References == <references/>" wikitext text/x-wiki Angel == Major == Secondary Education in English == Culture == == Hobbies == == Passions == == Unpopular Opinions == == References == <references/> e4f21f8738de3642682fbadf3b96e93f4bef4d81 0 16 55 2022-09-07T21:35:55Z ARStallings 10 Created page with "Adrienne Stallings is a student in Mat Wenzel's Fall 2022 class "Rhetorical Practices in Culture - Queer Rhetorics" at Texas Christian University.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref>..." wikitext text/x-wiki Adrienne Stallings is a student in Mat Wenzel's Fall 2022 class "Rhetorical Practices in Culture - Queer Rhetorics" at Texas Christian University.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == History == == Education == Adrienne is currently pursuing a double degree. She is expecting to receive a Bachelors of Arts in English with a minor in Chinese and a concentration in Global and Diasporic Literature and a Bachelors of Arts in Writing with a minor in Digital Culture and Data Analytics and a concentration in creative writing. Adrienne is a member of Pi Epsilon Pi (Spring 2020), Sigma Tau Delta (Spring 2022), and Phi Beta Kappa (Spring 2022).<ref> TCU English Department Instagram [https://www.instagram.com/tcuenglish/?hl=en]</ref> == Employment == == Publications == == Future Plans == == References == <references/> b1770a99fa2af113f698441352a0bced1ed9e151 60 55 2022-09-07T21:36:36Z ARStallings 10 wikitext text/x-wiki Adrienne Stallings is a student in Mat Wenzel's Fall 2022 class "Rhetorical Practices in Culture - Queer Rhetorics" at Texas Christian University.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == History == == Education == Adrienne is currently pursuing a double degree. She is expecting to receive a Bachelors of Arts in English with a minor in Chinese and a concentration in Global and Diasporic Literature and a Bachelors of Arts in Writing with a minor in Digital Culture and Data Analytics and a concentration in creative writing in Spring 2023. Adrienne is a member of Pi Epsilon Pi (Spring 2020), Sigma Tau Delta (Spring 2022), and Phi Beta Kappa (Spring 2022).<ref> TCU English Department Instagram [https://www.instagram.com/tcuenglish/?hl=en]</ref> == Employment == == Publications == == Future Plans == == References == <references/> cfb6d65add267eb8a2bb60dbf6d009c0b4cc3511 0 12 63 38 2022-09-07T21:37:22Z Luretame 6 wikitext text/x-wiki Luretame (born Breann Borlay; 2002 - ), also known by their pen name, Nahari E., is a Liberian-American writer, artist, painter, and junior English and Sociology major at Texas Christian University. <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Early History == Luretame was born on July 6th, 2002, in Tulsa, Oklahoma. == Education == In May 2020, Luretame enrolled in Texas Christian University, located in Fort Worth, Texas. Originally enrolled as an English major, she changed her path to include sociology as an additional major. == Original Participants == == Log == == Notes == == References == <references/> cd472b73734f66066388f5eee693849ad385a267 76 63 2022-09-07T21:48:36Z Luretame 6 wikitext text/x-wiki Breann Borlay (born July 6th, 2002), also known by their pen name, Nahari E., and painter pseudonym, Luretame, is a Liberian-American writer, artist, painter, and junior English and Sociology major at Texas Christian University. <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Early History == Luretame was born on July 6th, 2002, in Tulsa, Oklahoma. == Education == In May 2020, Luretame enrolled in Texas Christian University, located in Fort Worth, Texas. Originally enrolled as an English major, she changed her path to include sociology as an additional major. == Original Participants == == Log == == Notes == == References == <references/> 956686646ac414d99cbc0dd15dd2c8d695714806 110 76 2022-09-13T21:21:01Z 138.237.15.105 0 wikitext text/x-wiki Breann Borlay (born July 6th, 2002), also known by her pen name, Nahari E., and painter pseudonym, Luretame, is a Liberian-American writer, artist, painter, and junior English and Sociology major at Texas Christian University. <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Early History == Luretame was born on July 6th, 2002, in Tulsa, Oklahoma. == Education == In May 2020, Luretame enrolled in Texas Christian University, located in Fort Worth, Texas. Originally enrolled as an English major, she changed her path to include sociology as an additional major. == Original Participants == == Log == == Notes == == References == <references/> aff3b658fca4aafc5e5adceadca26d07f96c7979 0 6 64 61 2022-09-07T21:37:28Z Emma Kate 9 wikitext text/x-wiki Emma Kate Howard == hey == i would like to be sleeping right now <ref>[https://www.dictionary.com/browse/naptime] it's naptime </ref> == hi == == hello == == howdy == == let's go girls == == references == <references/> 14839643c41ab5083565501a0b10315bf18d681d 0 5 65 58 2022-09-07T21:37:40Z Julietelena2 14 wikitext text/x-wiki i am an evermore girlie in my reputation era <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Harry Styles == Harry <ref>[https://www.hstyles.co.uk/ Harry]</ref> == Favorite Books == == Favorite Movies == == Dolly == == Notes == == References == <references/> 0bd944239d9c0cc05c82db9dda9ec0af9e25c508 0 10 66 53 2022-09-07T21:37:49Z 138.237.15.6 0 wikitext text/x-wiki [https://www.taylorswift.com/ Taylor]Amanda (75487) , Tswizz pickle loving baddie with an affinity for the color pink [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Taylor Swift == == Feminism == == Cats == == Pink == == Notes == == References == <references/> <ref></ref> adc755df1125fcec9685e023bd26732dc506dbc9 69 66 2022-09-07T21:39:01Z 138.237.15.6 0 wikitext text/x-wiki Taylor]Amanda (75487) , Tswizz pickle loving baddie with an affinity for the color pink [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Taylor Swift == <ref>[https://www.taylorswift.com taylor]</ref> == Feminism == == Cats == == Pink == == Notes == == References == <references/> <ref></ref> aca27a59c0db0565df9da042e2bb6281e0f9762c 71 69 2022-09-07T21:39:31Z 138.237.15.6 0 wikitext text/x-wiki Amanda (75487) , Tswizz pickle loving baddie with an affinity for the color pink [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Taylor Swift == <ref>[https://www.taylorswift.com taylor]</ref> == Feminism == == Cats == == Pink == == Notes == == References == <references/> 8e5499e140480b1e34c9fa727b690dc9d819d8f9 0 11 67 37 2022-09-07T21:38:19Z Jazzypug2010 16 wikitext text/x-wiki Jessica also known as "Jazzy Pug" == Hobbies == == Music == == Movies == == Breakfast Tacos == <<https://fuzzystacoshop.com/>> == Future Plans == == References == <references/> 08583ed4568a05066dfad220f308211df7115467 68 67 2022-09-07T21:38:57Z Jazzypug2010 16 wikitext text/x-wiki Jessica also known as "Jazzy Pug" == Hobbies == == Music == == Movies == == Breakfast Tacos == Fuzzy's Taco Shop <https://fuzzystacoshop.com/> == Future Plans == == References == <references/> 52876204ee2467ef9ca0229c446cd0faccc2b04b 0 9 70 34 2022-09-07T21:39:10Z Brwilson1 12 wikitext text/x-wiki Brwilson1 == Major== English <ref>[https://addran.tcu.edu/english/index.php] TCU English Department </ref> == Hometown == == Favorite Things == == Travel Plans == = Fav Albums= == Notes == == References == <references/> b60b011c9abb5bea78a66564bbbb604ba0eba50b 0 17 72 2022-09-07T21:39:33Z Chloestarcloud 11 Created page with "Chloe Cloud, also known as "Petite Cloud" == Fashion == Vogue <ref>[https://www.vogue.com/fashion]>> == Music == == Favorites == == Future Plans == == About == == References == <references/>https://www.vogue.com/fashion" wikitext text/x-wiki Chloe Cloud, also known as "Petite Cloud" == Fashion == Vogue <ref>[https://www.vogue.com/fashion]>> == Music == == Favorites == == Future Plans == == About == == References == <references/>https://www.vogue.com/fashion f0e61d606bb78a1d00dc478ac9a2f3764d75d07a 77 72 2022-09-07T21:52:16Z Chloestarcloud 11 wikitext text/x-wiki Chloe Cloud, also known as "Petite Cloud" == Fashion == Vogue <ref>[https://www.vogue.com/fashion]>> == Nonconformity in fashion == == Favorites == == Future Plans == == About == == References == <references/>https://www.vogue.com/fashion 170f844a275822e5335491ff72581ff401195a36 78 77 2022-09-07T21:53:04Z Chloestarcloud 11 wikitext text/x-wiki Chloe Cloud, also known as "Petite Cloud" == Fashion == Vogue <ref>[https://www.vogue.com/fashion]>> == Non-conformity in fashion == == Favorites == == Future Plans == == About == == References == <references/>https://www.vogue.com/fashion af4fe9dbdc15904e244df52c5adb9c0dc31e3bd6 0 13 73 39 2022-09-07T21:40:45Z Sofun 15 wikitext text/x-wiki Sofun == Hometown == == Major == == Hobbies == == Idk == == Future Plans == == References == <references/> 089b60b4cd1de3c4d4d4b4037872fe98f97111aa 0 7 74 40 2022-09-07T21:41:32Z Catherinecunningham 8 wikitext text/x-wiki Catherine Cunningham == Special interests == [https://www.interviewmagazine.com/culture/kim-kardashian-bares-all Catherine is very interested in pop culture information.] == Major == == Hometown == == Family == == Early Life == == Favorite Books == == References == <references/> 87390a363bae4b67612237407fa7882261310c77 0 15 75 45 2022-09-07T21:43:06Z Angel23 17 /* Unpopular Opinions */ wikitext text/x-wiki Angel == Major == Secondary Education in English == Culture == == Hobbies == == Passions == == My Big Three == == References == <references/> a99926a6b40bd39a6d656b1205d11501ac37a064 0 2 79 16 2022-09-09T16:49:35Z Matrim112830 2 /* slay */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == History == == Original Participants == == Log == == Notes == == References == <references/> 9ef558d9bf03a76f3df0ab10a021ed60dd756442 80 79 2022-09-09T16:54:03Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose == This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives. == Original Participants == == Log == == Notes == == References == <references/> 16b01b05d673a23623932f17ade1a8898d871744 81 80 2022-09-09T16:54:32Z Matrim112830 2 /* Purpose */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives. == Original Participants == == Log == == Notes == == References == <references/> 28c91f9af5bf76a39c3ef09c71b2896f9f24e038 82 81 2022-09-09T22:02:49Z Matrim112830 2 /* Purpose of this Wiki */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == == Log == == Notes == == References == <references/> c95cbc1be9e8e1b83841af60a47b69ce0341a408 83 82 2022-09-12T20:36:45Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, “<ref></ref>” should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <references/> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” == Notes == == References == <references/> 491c4eabefb4a629fd7f3cf173a71452fc73d910 84 83 2022-09-12T20:38:18Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <references/> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” == Notes == == References == <references/> ec7e43a7e512dd08d8833b08b65c9402f2bf8a08 85 84 2022-09-12T20:38:48Z Matrim112830 2 /* Wednesday, September 7, 2022 */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <references/> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” == Notes == == References == <references/> 038e07ec933185793fcb6f005ab76375be9f72a0 86 85 2022-09-12T20:40:22Z Matrim112830 2 /* Wednesday, September 7, 2022 */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” == Notes == == References == <references/> c1e139301f8871268783e47a3c4f023a8f791868 87 86 2022-09-12T20:42:27Z Matrim112830 2 /* Logs */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity == Notes == == References == <references/> 17a58bab0ef085e8c074a941e5b5da69d7c0e106 88 87 2022-09-12T20:44:03Z Matrim112830 2 /* Wednesday, September 7, 2022 */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” Monday, August 29, 2022 jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is disidentification not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity == Notes == == References == <references/> 97068d079d3accff6ba0ad280b5440fc3831685e 89 88 2022-09-12T20:44:51Z Matrim112830 2 /* Logs */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is disidentification not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> bee2b757b70cb7cfc72a5af648381eebf777a5ff 90 89 2022-09-12T20:45:41Z Matrim112830 2 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == Mat Wenzel == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is disidentification not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 336372c5ae8d7a5a3094f5693875229b1c3e7cd4 92 90 2022-09-12T20:48:34Z Matrim112830 2 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by Mat Wenzel at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == [[Mat Wenzel]] == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is disidentification not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 3eb94598a81aac55ad6039e48c34fa0a03ee5c91 93 92 2022-09-12T20:50:02Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == [[Mat Wenzel]] == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> ecd077658714ad2bb16772ae2218c96d67f13bbb 94 93 2022-09-12T21:08:32Z Matrim112830 2 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == [[Catherine Cunningham]] [[Mat Wenzel]] == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 06e00ef45eed5c3e66b25cdfa8a0cffdc65c3f7a 95 94 2022-09-12T21:08:51Z Matrim112830 2 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == [[Catherine Cunningham]]<br> [[Mat Wenzel]] == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 874f6bd396ed957bd39789238cf36397b65ae53e 99 95 2022-09-12T23:07:32Z Amanda.peter 13 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == [[Amanda]] [[Catherine Cunningham]]<br> [[Mat Wenzel]] == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> c22920323730d8fa1979a0591de292754ddbbf08 100 99 2022-09-12T23:26:53Z Dkreisl 20 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == [[https://qwiki.miraheze.org/wiki/Dania#References]] [[Amanda]] [[Catherine Cunningham]]<br> [[Mat Wenzel]] == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 13580f9d13cce37b2aabf2b6cdd5a2cf5745fec5 101 100 2022-09-12T23:28:21Z Dkreisl 20 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == [[Dania#References|Dania]] [[Amanda]] [[Catherine Cunningham]]<br> [[Mat Wenzel]] == Logs == === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 2b981bae50b575f22e4bbff73c4570356bedce4b 102 101 2022-09-13T01:25:20Z 2600:1700:BE41:80C0:0:0:0:3A 0 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == [[Dania#References|Dania]] [[Amanda]] [[Catherine Cunningham]]<br> [[Mat Wenzel]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 637ca6c436257b39790b1729203d783f46dce555 103 102 2022-09-13T03:11:24Z 2600:1700:7F85:2540:40AE:469:53AE:41B5 0 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == [[Dania#References|Dania]] [[Amanda]] [[Catherine Cunningham]]<br> [[Mat Wenzel]] [[Emma Kate Howard]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> afdd0c875e68d112bee60e5727c8e908de2ef224 104 103 2022-09-13T13:57:04Z 2600:1700:BE41:80C0:3856:3029:1680:B04B 0 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == [[Dania#References|Dania]] [[Amanda]] [[Catherine Cunningham]]<br> [[Mat Wenzel]] [[Emma Kate Howard]] <br> [[Savannah]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 6641125244544be90a72d513910463d463a8c592 105 104 2022-09-13T13:57:31Z 2600:1700:BE41:80C0:3856:3029:1680:B04B 0 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == [[Dania#References|Dania]] [[Amanda]] [[Catherine Cunningham]]<br> [[Mat Wenzel]] [[Emma Kate Howard]] [[Savannah]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 7ed926ab1f55a9eb162b6b648103739072063b93 106 105 2022-09-13T16:58:19Z 138.237.15.98 0 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == [[Adrienne Stallings]] [[Dania#References|Dania]] [[Amanda]] [[Catherine Cunningham]]<br> [[Mat Wenzel]] [[Emma Kate Howard]] [[Savannah]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 187957825043b7830b5dff7cb9ba8ea174f77244 107 106 2022-09-13T19:33:21Z 138.237.26.124 0 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - Queer Rhetorics" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Purpose of this Wiki== This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. == Original Participants == [[Amanda]] [[Dania#References|Dania]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Savannah]] [[Adrienne Stallings]] [[Mat Wenzel]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 4d5c45945d09875d3d9fa2d94fc5805e1815fa92 0 18 91 2022-09-12T20:47:25Z Matrim112830 2 Created page with "Mat Wenzel is an instructor of writing at TCU, in Fort Worth Texas. == Background == == Education == == Research == == Creative Work ==" wikitext text/x-wiki Mat Wenzel is an instructor of writing at TCU, in Fort Worth Texas. == Background == == Education == == Research == == Creative Work == 8f1de4e5f6676647e803772efcdb6f60ce8080b8 96 91 2022-09-12T21:14:39Z Matrim112830 2 wikitext text/x-wiki Mat Wenzel is an instructor of writing at TCU, in Fort Worth Texas. == Background == == Education == == Research == == Creative Work == == References == <references/> c7595aa040a9042eccbdc6030c3041b2ef0da3bb 111 96 2022-09-13T21:36:57Z Matrim112830 2 wikitext text/x-wiki Mat Wenzel is an instructor of writing at TCU, in Fort Worth Texas. <ref name="Jeffries">{{cite journal |last1=Jeffries |first1=Peter |last2=Gianinazzi |first2=Silvio |last3=Perotto |first3=Silvia |last4=Turnau |first4=Katarzyna |last5=Barea |first5=José-Miguel |title=The contribution of arbuscular mycorrhizal fungi in sustainable maintenance of plant health and soil fertility |journal=Biology and Fertility of Soils |date=January 2003 |volume=37 |issue=1 |pages=1–16 |doi=10.1007/s00374-002-0546-5 |id={{INIST|14498927}} |s2cid=20792333 }}</ref> == Background == == Education == == Research == == Creative Work == == References == <references/> c361bbf1a207a305053ea6e1a12c0aab2e7237ef 112 111 2022-09-13T21:43:32Z Matrim112830 2 wikitext text/x-wiki Mat Wenzel is an instructor of writing at TCU, in Fort Worth Texas. == Background == == Education == == Research == == Creative Work == == References == <references/> c7595aa040a9042eccbdc6030c3041b2ef0da3bb 0 19 97 2022-09-12T21:40:07Z Dkreisl 20 Created page with "Dania is a control freak Virgo who happens to have three cats that she loves dearly. == Background == == Education == == Research == == Creative Work == == References == <references/> <ref> TCU, AddRan College of Liberal Arts, Department of English [http:addran.tcu.edu/English/index.php]</ref> <ref> Benson Boone [https://www.bensonboone.com]</ref>" wikitext text/x-wiki Dania is a control freak Virgo who happens to have three cats that she loves dearly. == Background == == Education == == Research == == Creative Work == == References == <references/> <ref> TCU, AddRan College of Liberal Arts, Department of English [http:addran.tcu.edu/English/index.php]</ref> <ref> Benson Boone [https://www.bensonboone.com]</ref> 6b1734e2efa5041dfb87a7b15fd877bbee75a7ba 98 97 2022-09-12T21:43:13Z Dkreisl 20 /* References */ wikitext text/x-wiki Dania is a control freak Virgo who happens to have three cats that she loves dearly. == Background == == Education == == Research == == Creative Work == == References == <references/> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://addran.tcu.edu/english/index.php]</ref> <ref> Benson Boone [https://www.bensonboone.com]</ref> 226a144fbd0a434b7ae55f2eaceb6e162de23679 0 20 108 2022-09-13T21:16:27Z Matrim112830 2 Created page with "Queer Rhetorics resists definition, as == Rhodes and Alexander == == Archives == == Bibliography == == References == <references/>" wikitext text/x-wiki Queer Rhetorics resists definition, as == Rhodes and Alexander == == Archives == == Bibliography == == References == <references/> fc70a12e16c3c50290e59d507703af52259969bc 0 21 109 2022-09-13T21:19:28Z Matrim112830 2 Created page with "Queer Time is == In A Queer Time and Place == == Queer Utopia/Disidentification == == Related == == References == <references/>" wikitext text/x-wiki Queer Time is == In A Queer Time 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Don't forget to log in so that your changes are attributed to you and not seen as potential spam, etc. --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 22:26, 13 September 2022 (UTC) 80a8f601adca4efafc8ad7a01d1dc314c6ede4b1 2 23 117 2022-09-13T21:49:59Z Matrim112830 2 Redirected page to [[Mat Wenzel]] wikitext text/x-wiki #REDIRECT [[Mat Wenzel]] f2d0ddc6754faaecc39cca134032c6dc3c3d47ec 0 24 118 2022-09-13T21:50:50Z Matrim112830 2 Redirected page to [[Mat Wenzel]] wikitext text/x-wiki #REDIRECT [[Mat Wenzel]] f2d0ddc6754faaecc39cca134032c6dc3c3d47ec 1 25 119 2022-09-13T21:53:28Z Matrim112830 2 Created page with "Please feel free to message me here! --~~~~" wikitext text/x-wiki Please feel free to message me here! --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 21:53, 13 September 2022 (UTC) 22bf0b4a4275a652e59cfe90b6247e93c03b5191 0 18 120 112 2022-09-13T21:55:46Z Matrim112830 2 wikitext text/x-wiki Mat Wenzel is an instructor of writing at TCU, in Fort Worth Texas. == Background == == Education == == Research == == Creative Work == == References == <references/> === External Links === a2e6555a8704c733cad34c5a525a402633a4209d 121 120 2022-09-13T21:56:09Z Matrim112830 2 wikitext text/x-wiki Mat Wenzel is an instructor of writing at TCU, in Fort Worth Texas. == Background == == Education == == Research == == Creative Work == == References == <references/> == External Links == 695eca467984a7e578001dc4df0237fafe1c86cc 147 121 2022-09-14T16:04:59Z Matrim112830 2 /* External Links */ wikitext text/x-wiki Mat Wenzel is an instructor of writing at TCU, in Fort Worth Texas. == Background == == Education == == Research == == Creative Work == == References == <references/> == External Links == [http://www.matwenzel.com] [https://sketchboard.me/zDpBcFzFpPYy Queer Methodologies WIP Sketchboard] 38b9c73bc716ce5b9b455763438a030ae592e031 148 147 2022-09-14T16:05:25Z Matrim112830 2 /* External Links */ wikitext text/x-wiki Mat Wenzel is an instructor of writing at TCU, in Fort Worth Texas. == Background == == Education == == Research == == Creative Work == == References == <references/> == External Links == [http://www.matwenzel.com] [https://sketchboard.me/zDpBcFzFpPYy Queer Methodologies WIP Sketchboard] f595fef40bc46ee8463f757b16117448d85671b6 149 148 2022-09-14T16:05:55Z Matrim112830 2 /* External Links */ wikitext text/x-wiki Mat Wenzel is an instructor of writing at TCU, in Fort Worth Texas. == Background == == Education == == Research == == Creative Work == == References == <references/> == External Links == [http://www.matwenzel.com www.matwenzel.com] [https://sketchboard.me/zDpBcFzFpPYy Queer Methodologies WIP Sketchboard] aaa1227ef14d77a39f5027918dd66352858afc4d 150 149 2022-09-14T16:06:06Z Matrim112830 2 /* External Links */ wikitext text/x-wiki Mat Wenzel is an instructor of writing at TCU, in Fort Worth Texas. == Background == == Education == == Research == == Creative Work == == References == <references/> == External Links == [http://www.matwenzel.com www.matwenzel.com]<br> [https://sketchboard.me/zDpBcFzFpPYy Queer Methodologies WIP Sketchboard] 858cfe5a61331fe80e05780f970dac072cd34ca0 0 1 122 15 2022-09-13T22:01:17Z Matrim112830 2 wikitext text/x-wiki __NOTOC__ == Welcome to {{SITENAME}}! == For our course page visit [[ WRIT 30243.074 (75487)]]. This wiki serves as part of the coursework for the class, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace the gaps and silences that exist in the present, past, and future public archives with queer records. === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, and thank you for visiting this wiki. 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To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. 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We are still in the process of developing pages, but feel free to browse or contribute. dc6635f7971f9fb15ba0c828ec545a4a00934757 129 128 2022-09-13T22:22:30Z Matrim112830 2 /* Welcome to {{SITENAME}}! */ wikitext text/x-wiki __NOTOC__ [[File:Future Is So Queer in Ukraine.jpg|thumb|Future Is So Queer in Ukraine]] == Welcome to {{SITENAME}}! == This wiki serves as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. 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You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, and thank you for visiting this wiki. We are still in the process of developing pages, but feel free to browse or contribute. a996435c6a247ec5095991261fed55506ef4c228 161 129 2022-09-14T20:50:43Z Matrim112830 2 wikitext text/x-wiki __NOTOC__ [[File:Future Is So Queer in Ukraine.jpg|thumb|Future Is So Queer in Ukraine]] == Welcome to {{SITENAME}}! == This wiki serves as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. === Philosophy === Queer Wiki exists as a space for archiving that does not have the same restrictions that Wikipedia has. One of Wikipedia's core content policies is NPOV, the "neutral" point of view. From Wikipedia: "All encyclopedic content on Wikipedia must be written from a neutral point of view (NPOV), which means representing fairly, proportionately, and, as far as possible, without editorial bias, all the significant views that have been published by reliable sources on a topic. NPOV is a fundamental principle of Wikipedia and of other Wikimedia projects. It is also one of Wikipedia's three core content policies; the other two are "Verifiability" and "No original research". These policies jointly determine the type and quality of material acceptable in Wikipedia articles, and because they work in harmony, they should not be interpreted in isolation from one another. Editors are strongly encouraged to familiarize themselves with all three. This policy is non-negotiable, and the principles upon which it is based cannot be superseded by other policies or guidelines, nor by editor consensus." <ref>https://en.wikipedia.org/wiki/Wikipedia:Neutral_point_of_view</ref> QWiki not only questions the possibility of the neutral state, but asserts a QPOV. === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, and thank you for visiting this wiki. 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From Wikipedia: "All encyclopedic content on Wikipedia must be written from a neutral point of view (NPOV), which means representing fairly, proportionately, and, as far as possible, without editorial bias, all the significant views that have been published by reliable sources on a topic. NPOV is a fundamental principle of Wikipedia and of other Wikimedia projects. It is also one of Wikipedia's three core content policies; the other two are "Verifiability" and "No original research". These policies jointly determine the type and quality of material acceptable in Wikipedia articles, and because they work in harmony, they should not be interpreted in isolation from one another. Editors are strongly encouraged to familiarize themselves with all three. This policy is non-negotiable, and the principles upon which it is based cannot be superseded by other policies or guidelines, nor by editor consensus." <ref>https://en.wikipedia.org/wiki/Wikipedia:Neutral_point_of_view</ref> QWiki not only questions the possibility of the neutral state, but asserts a QPOV. === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, and thank you for visiting this wiki. We are still in the process of developing pages, but feel free to browse or contribute. == References == <references/> 2ab17ac20a6079342c9566e565ba693e6bb5ef40 0 2 125 107 2022-09-13T22:05:14Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Original Participants == [[Amanda]] [[Dania#References|Dania]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Savannah]] [[Adrienne Stallings]] [[Mat Wenzel]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 698b9fb572ee04c515a2d1ea780fa708b5f9334f 126 125 2022-09-13T22:07:39Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Original Participants == [[Amanda]] [[Dania#References|Dania]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Savannah]] [[Adrienne Stallings]] [[Mat Wenzel]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> f5db9afde94e7f2f22e6de2eecb7a60f37aed160 134 126 2022-09-13T23:30:00Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics === Course Resources === Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library Some books the library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[Amanda]] [[Dania#References|Dania]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Savannah]] [[Adrienne Stallings]] [[Mat Wenzel]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 481d8c8b347fd3807ebb66baba7e75cbca4d5361 135 134 2022-09-13T23:30:29Z Matrim112830 2 /* Course Resources */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics === Course Resources === Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[Amanda]] [[Dania#References|Dania]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Savannah]] [[Adrienne Stallings]] [[Mat Wenzel]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 76ed7a5bdc25964ce8d6918fe90b52e328522f20 136 135 2022-09-13T23:30:43Z Matrim112830 2 /* Course Resources */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics === Course Resources === Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[Amanda]] [[Dania#References|Dania]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Savannah]] [[Adrienne Stallings]] [[Mat Wenzel]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 2b2f243478fecab3cc376aa8ee5ede155294537c 137 136 2022-09-13T23:31:22Z Matrim112830 2 /* Course Resources */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[Amanda]] [[Dania#References|Dania]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Savannah]] [[Adrienne Stallings]] [[Mat Wenzel]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> d30cca586ca23a871b8970e15daba226be8206c7 139 137 2022-09-14T04:26:48Z Groomesdeja 19 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[Deja]] [[Amanda]] [[Dania#References|Dania]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Savannah]] [[Adrienne Stallings]] [[Mat Wenzel]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 53063b1b076313ae0ccbb9892e72715710601f99 140 139 2022-09-14T14:23:32Z 2600:1700:562:9C80:109D:BC82:A36C:E817 0 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Savannah]] [[Adrienne Stallings]] [[Mat Wenzel]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 3457d6e41354f975e3304852ba73480345824674 143 140 2022-09-14T15:12:50Z Ariel12 21 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 585676e5939b0f277c83298b55c2b1532531acf2 144 143 2022-09-14T15:12:56Z 2600:6C56:7800:FC84:245A:CEE0:CC7D:4FBC 0 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[Amanda]] [[Chloe Cloud]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> ac630aed367c5b32b2b539d9915361b7c482f22f 145 144 2022-09-14T15:17:36Z Chloestarcloud 11 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[Amanda]] [[Petite Cloud]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 052090c655066e252bf4fd659dd85232ec5f932a 151 145 2022-09-14T16:16:16Z Matrim112830 2 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 1683d9c0e8eb47ae1fed007a1b81463ce837ed41 152 151 2022-09-14T17:30:35Z Brwilson1 12 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[https://qwiki.miraheze.org/wiki/Brwilson1|Brooklyn]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 1b9f3300362887dead54337f535b5967ab6a9204 153 152 2022-09-14T17:32:18Z Brwilson1 12 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brooklyn]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> bc177a9ec27e6e26989eaaa2a51e456af2dc1335 154 153 2022-09-14T17:33:48Z Brwilson1 12 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 263ee3b7a82a2294cb072bccb96db16142617818 155 154 2022-09-14T18:24:26Z 2600:1700:7F84:7500:8C11:8462:5C3D:1C96 0 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 7f7dec9fd989fd682764695d56085a32aff968c2 157 155 2022-09-14T19:12:43Z Anelco 22 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Anelco]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 2324f9b61031a093939fac9ddddf865a37ac7986 159 157 2022-09-14T19:32:01Z Anelco 22 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> afe938d97466c553afaf477e88733cc7d8b72774 160 159 2022-09-14T20:25:10Z Jazzypug2010 16 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 3efa3ef0e32b60677d2a91af1b35bd97a01f8aed 1 26 131 2022-09-13T22:28:39Z Matrim112830 2 Created page with "Not sure where my message went! Leave me a message here! --~~~~" wikitext text/x-wiki Not sure where my message went! Leave me a message here! --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 22:28, 13 September 2022 (UTC) 2da6e7b8f6bc0a4453b6e5409c199032defc82da 132 131 2022-09-13T22:28:56Z Matrim112830 2 Blanked the page wikitext text/x-wiki da39a3ee5e6b4b0d3255bfef95601890afd80709 0 20 133 108 2022-09-13T22:39:42Z Matrim112830 2 /* Bibliography */ wikitext text/x-wiki Queer Rhetorics resists definition, as == Rhodes and Alexander == == Archives == == Bibliography == In 2015, Matthew B. Cox and Michael J. Faris developed this annotated bibliography of "LGBTQ Rhetorics" http://www.presenttensejournal.org/volume-4/an-annotated-bibliography-of-lgbtq-rhetorics/ == References == <references/> 68073457898f74af42fc3e98299690f51d36cce2 146 133 2022-09-14T16:00:55Z 2600:1700:562:9C80:A100:F99C:1CF8:5DAB 0 wikitext text/x-wiki Queer Rhetorics resists definition, as == Rhodes and Alexander == === Logos === === Pathos === === Ethos === === Archives === == Archives == == Bibliography == In 2015, Matthew B. Cox and Michael J. Faris developed this annotated bibliography of "LGBTQ Rhetorics" http://www.presenttensejournal.org/volume-4/an-annotated-bibliography-of-lgbtq-rhetorics/ == References == <references/> c73ba86bae4879ecb1d53be02b0ef3f845c44c36 0 27 138 2022-09-14T04:24:54Z Groomesdeja 19 Created page with "Deja is an English major and soon to be graduate of TCU in Fort Worth, Texas. == Background == == Education == == Research == == Creative Work == == References == <references/> == External Links ==" wikitext text/x-wiki Deja is an English major and soon to be graduate of TCU in Fort Worth, Texas. == Background == == Education == == Research == == Creative Work == == References == <references/> == External Links == 937c4714593684fb60648a055367d71eeeb12f4a 0 13 141 73 2022-09-14T14:56:23Z Ariel12 21 wikitext text/x-wiki Ariel == Hometown == == Major == == Hobbies == == Idk == == Future Plans == == References == <references/> dc310f358caf5dba397f5b8ce42c0dba99432729 142 141 2022-09-14T14:57:08Z Ariel12 21 wikitext text/x-wiki Sofun == Hometown == == Major == == Hobbies == == Idk == == Future Plans == == References == <references/> 7de09e3a016006ce8d6e9b7722aab424e7a6cca0 2 28 156 2022-09-14T19:10:06Z Anelco 22 Created blank page wikitext text/x-wiki da39a3ee5e6b4b0d3255bfef95601890afd80709 158 156 2022-09-14T19:31:03Z Anelco 22 wikitext text/x-wiki Andy (Andrea) Coronado is a student in Mat Wenzel's Fall 2022 class "Rhetorical Practices in Culture - Queer Rhetorics" at Texas Christian University.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == History == == Education == Andrea Coronado is a Secondary Education major, focusing on English. She is minoring in Women and Gender Studies. == Employment == == Publications == == Future Plans == == References == <references/> 98cde72d5aaf277a0778020cb7046e4e97425fff 0 2 163 160 2022-09-14T20:53:16Z 138.237.5.19 0 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> d624f0bcc2d36f37077758cbc3baa86ec9fe53e4 166 163 2022-09-14T21:07:12Z 138.237.15.23 0 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> ecde745b95a0db090c7afc811121ebfe7c49395d 180 166 2022-09-14T23:17:47Z Amanda.peter 13 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 3bb812261e2fa557c29e75ea54721acdd4f8418d 202 180 2022-09-19T04:05:12Z Anaya.nichelle 23 /* Original Participants */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 87f4b1e9845dab3e01e497394d2608d9fcc3a83d 208 202 2022-09-19T21:03:36Z Anelco 22 /* Logs */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == == Monday, September 19, 2022 == AC testing === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> b33bb2a80b30a9d69dcd187880f5a8123c26094c 209 208 2022-09-19T21:03:56Z Anelco 22 /* Monday, September 19, 2022 */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == == '''Monday, September 19, 2022''' == AC testing === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 01e08dae7a252c0f136434b314287689e01c6fec 210 209 2022-09-19T21:08:35Z Anelco 22 /* Monday, September 19, 2022 */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == == '''Monday, September 19, 2022''' == AC going back to the queer graphics === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 849d8281e83f5fb8a77c7ca6d5fce31ad6c41d65 211 210 2022-09-19T21:09:40Z Anelco 22 /* Monday, September 19, 2022 */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == == '''Monday, September 19, 2022''' == AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 156869c3562ade459412300ed83618e688eaa356 0 1 164 162 2022-09-14T20:55:16Z Matrim112830 2 /* Welcome to {{SITENAME}}! */ wikitext text/x-wiki __NOTOC__ [[File:Future Is So Queer in Ukraine.jpg|thumb|Future Is So Queer in Ukraine]] == Welcome to {{SITENAME}}! == This wiki serves as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. === Philosophy === Queer Wiki exists as a space for archiving that does not have the same restrictions that Wikipedia has. One of Wikipedia's core content policies is NPOV, the "neutral" point of view. <blockquote> From Wikipedia: "All encyclopedic content on Wikipedia must be written from a neutral point of view (NPOV), which means representing fairly, proportionately, and, as far as possible, without editorial bias, all the significant views that have been published by reliable sources on a topic. NPOV is a fundamental principle of Wikipedia and of other Wikimedia projects. It is also one of Wikipedia's three core content policies; the other two are "Verifiability" and "No original research". These policies jointly determine the type and quality of material acceptable in Wikipedia articles, and because they work in harmony, they should not be interpreted in isolation from one another. Editors are strongly encouraged to familiarize themselves with all three. This policy is non-negotiable, and the principles upon which it is based cannot be superseded by other policies or guidelines, nor by editor consensus." <ref>https://en.wikipedia.org/wiki/Wikipedia:Neutral_point_of_view</ref> </blockquote> QWiki not only questions the possibility of the neutral state, but asserts a QPOV. === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, and thank you for visiting this wiki. We are still in the process of developing pages, but feel free to browse or contribute. == References == <references/> 8350ae04976eb662b20e09fc11695f4fa216aa5b 165 164 2022-09-14T20:56:42Z Matrim112830 2 wikitext text/x-wiki __NOTOC__ [[File:Future Is So Queer in Ukraine.jpg|thumb|Future Is So Queer in Ukraine]] == Welcome to {{SITENAME}}! == This wiki serves as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. === Philosophy === Queer Wiki exists as a space for archiving that does not have the same restrictions that Wikipedia has. One of Wikipedia's core content policies is NPOV, the "neutral" point of view. From Wikipedia <blockquote>"All encyclopedic content on Wikipedia must be written from a neutral point of view (NPOV), which means representing fairly, proportionately, and, as far as possible, without editorial bias, all the significant views that have been published by reliable sources on a topic. NPOV is a fundamental principle of Wikipedia and of other Wikimedia projects. It is also one of Wikipedia's three core content policies; the other two are "Verifiability" and "No original research". These policies jointly determine the type and quality of material acceptable in Wikipedia articles, and because they work in harmony, they should not be interpreted in isolation from one another. Editors are strongly encouraged to familiarize themselves with all three. This policy is non-negotiable, and the principles upon which it is based cannot be superseded by other policies or guidelines, nor by editor consensus." <ref>https://en.wikipedia.org/wiki/Wikipedia:Neutral_point_of_view</ref> </blockquote> QWiki not only questions the possibility of the neutral state, but asserts a QPOV. It asserts no need for "verification" per se, and invites original thought and inquiry. === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, and thank you for visiting this wiki. We are still in the process of developing pages, but feel free to browse or contribute. == References == <references/> 871970a3529f5f2b11fd451cb5ad843db8d47b2c 1 22 167 130 2022-09-14T21:16:59Z 138.237.6.152 0 wikitext text/x-wiki 30243 Bureaucrats!! Please use the citation tool/link tool to create a link to your page under "Original Participants" or use the html code [[ ]] --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 21:46, 13 September 2022 (UTC) Also! Don't forget to log in so that your changes are attributed to you and not seen as potential spam, etc. --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 22:26, 13 September 2022 (UTC) 36c9283fd1a3120ab9edb787c64a92f75ab88743 168 167 2022-09-14T21:17:27Z 138.237.6.152 0 wikitext text/x-wiki 30243 Bureaucrats!! Please use the citation tool/link tool to create a link to your page under "Original Participants" or use the html code [[mat wenzel]] --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 21:46, 13 September 2022 (UTC) Also! Don't forget to log in so that your changes are attributed to you and not seen as potential spam, etc. --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 22:26, 13 September 2022 (UTC) c6c36331319e29b296d2c4faea21715b1713d466 169 168 2022-09-14T21:17:50Z 138.237.6.152 0 wikitext text/x-wiki 30243 Bureaucrats!! Please use the citation tool/link tool to create a link to your page under "Original Participants" or use the html code <nowiki>[[mat wenzel]]</nowiki> --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 21:46, 13 September 2022 (UTC) Also! Don't forget to log in so that your changes are attributed to you and not seen as potential spam, etc. --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 22:26, 13 September 2022 (UTC) e8dea622a50e4eaeacc4ef609747b8b4f44568e4 170 169 2022-09-14T21:19:05Z 138.237.6.152 0 wikitext text/x-wiki 30243 Bureaucrats!! Please use the citation tool/link tool to create a link to your page under "Original Participants" or use the html code <nowiki>[[]]</nowiki> --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 21:46, 13 September 2022 (UTC) Also! Don't forget to log in so that your changes are attributed to you and not seen as potential spam, etc. --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 22:26, 13 September 2022 (UTC) c0b74162a4736196c230a43afa6692779d528611 0 20 171 146 2022-09-14T22:07:53Z ARStallings 10 /* Logos */ wikitext text/x-wiki Queer Rhetorics resists definition, as == Rhodes and Alexander == === Logos === The concept of logos is typically factual–such as statistics. Rhodes and Alexander, however, take logos as counterlogics. They point to examples such as the Lesbian Avengers, who clashed directly with societal expectations for women by protesting on the behalf of all children (not just their own) with images of women holding guns or bombs. <ref> Logos, or Silence=Death [https://www.enculturation.net/files/QueerRhetoric/queerarchive/logos2.html] </ref> === Pathos === === Ethos === === Archives === == Archives == == Bibliography == In 2015, Matthew B. Cox and Michael J. Faris developed this annotated bibliography of "LGBTQ Rhetorics" http://www.presenttensejournal.org/volume-4/an-annotated-bibliography-of-lgbtq-rhetorics/ == References == <references/> 155bd53efeb213bb8f29860623769a5b9982e570 172 171 2022-09-14T22:08:33Z Anelco 22 /* Logos */ wikitext text/x-wiki Queer Rhetorics resists definition, as == Rhodes and Alexander == === Logos === The concept of logos is typically factual–such as statistics. Rhodes and Alexander, however, take logos as counterlogics. They point to examples such as the Lesbian Avengers, who clashed directly with societal expectations for women by protesting on the behalf of all children (not just their own) with images of women holding guns or bombs. <ref> Logos, or Silence=Death [https://www.enculturation.net/files/QueerRhetoric/queerarchive/logos2.html] </ref> Why is there questioning on the nonnormative thing? Trying to discredit the experience with logos intentionally. "Why complicated? Why does it need explanation or description?" === Pathos === === Ethos === === Archives === == Archives == == Bibliography == In 2015, Matthew B. Cox and Michael J. Faris developed this annotated bibliography of "LGBTQ Rhetorics" http://www.presenttensejournal.org/volume-4/an-annotated-bibliography-of-lgbtq-rhetorics/ == References == <references/> ff4bf49197d7b9b3f630af70611145616a1b5e2e 173 172 2022-09-14T22:09:28Z Chloestarcloud 11 /* Ethos */ wikitext text/x-wiki Queer Rhetorics resists definition, as == Rhodes and Alexander == === Logos === The concept of logos is typically factual–such as statistics. Rhodes and Alexander, however, take logos as counterlogics. They point to examples such as the Lesbian Avengers, who clashed directly with societal expectations for women by protesting on the behalf of all children (not just their own) with images of women holding guns or bombs. <ref> Logos, or Silence=Death [https://www.enculturation.net/files/QueerRhetoric/queerarchive/logos2.html] </ref> Why is there questioning on the nonnormative thing? Trying to discredit the experience with logos intentionally. "Why complicated? Why does it need explanation or description?" === Pathos === === Ethos === Queer Ethos resists normative discourse and rejects fixed ideas about who or what is defined as the "acceptable" queer person(s). Queer Ethos is all encapsulating and is a reflection of the diversity of queerness. Queer Ethos does not rely on definitive structures of"right queer" or "wrong queer." === Archives === == Archives == == Bibliography == In 2015, Matthew B. Cox and Michael J. Faris developed this annotated bibliography of "LGBTQ Rhetorics" http://www.presenttensejournal.org/volume-4/an-annotated-bibliography-of-lgbtq-rhetorics/ == References == <references/> 07adf2ba39f5d8001ccc70bdca598a1e289fc18b 174 173 2022-09-14T22:12:24Z Jazzypug2010 16 /* Pathos */ wikitext text/x-wiki Queer Rhetorics resists definition, as == Rhodes and Alexander == === Logos === The concept of logos is typically factual–such as statistics. Rhodes and Alexander, however, take logos as counterlogics. They point to examples such as the Lesbian Avengers, who clashed directly with societal expectations for women by protesting on the behalf of all children (not just their own) with images of women holding guns or bombs. <ref> Logos, or Silence=Death [https://www.enculturation.net/files/QueerRhetoric/queerarchive/logos2.html] </ref> Why is there questioning on the nonnormative thing? Trying to discredit the experience with logos intentionally. "Why complicated? Why does it need explanation or description?" === Pathos === What is pathos in Queer Rhetorics? Why does pathos need to be addressed in visible queering? Emotion-evoking queer promotes the audience/ viewer to feel a certain way. As stated in the article, "visibility becomes, in so many significant ways, the pressing rhetorical strategy- and need- of LGBT rights movements. Through the emotion appealing actions through queer rhetorics, a sort of "zapping" occurs; this "zap" pushes to eliminate bias, prejudice, and ignorance of all kinds. An example of a "zap" throughout history: - New York Radical Feminists protest at the Miss America Pageant in 1968; feminists dressed up a sheep as Miss America and threw symbols of women's oppression "Zap" actions worked not only to disrupt normative discourse, but also to educate gay people themselves. === Ethos === Queer Ethos resists normative discourse and rejects fixed ideas about who or what is defined as the "acceptable" queer person(s). Queer Ethos is all encapsulating and is a reflection of the diversity of queerness. Queer Ethos does not rely on definitive structures of"right queer" or "wrong queer." === Archives === == Archives == == Bibliography == In 2015, Matthew B. Cox and Michael J. Faris developed this annotated bibliography of "LGBTQ Rhetorics" http://www.presenttensejournal.org/volume-4/an-annotated-bibliography-of-lgbtq-rhetorics/ == References == <references/> dc061c0a34f198d13ad0e381da5694171f87521a 175 174 2022-09-14T22:13:28Z Luretame 6 /* Rhodes and Alexander */ wikitext text/x-wiki Queer Rhetorics resists definition, as == Rhodes and Alexander == === Logos === The concept of logos is typically factual–such as statistics. Rhodes and Alexander, however, take logos as counterlogics. They point to examples such as the Lesbian Avengers, who clashed directly with societal expectations for women by protesting on the behalf of all children (not just their own) with images of women holding guns or bombs. <ref> Logos, or Silence=Death [https://www.enculturation.net/files/QueerRhetoric/queerarchive/logos2.html] </ref> Why is there questioning on the nonnormative thing? Trying to discredit the experience with normative ideas of logos intentionally. "Why complicated? Why does it need explanation or description?" If we know that our academic means of exploring logic and rationale has often excluded certain groups, why do we then discount the experience of these groups based on their exclusion from logical means of knowing === Pathos === What is pathos in Queer Rhetorics? Why does pathos need to be addressed in visible queering? Emotion-evoking queer promotes the audience/ viewer to feel a certain way. As stated in the article, "visibility becomes, in so many significant ways, the pressing rhetorical strategy- and need- of LGBT rights movements. Through the emotion appealing actions through queer rhetorics, a sort of "zapping" occurs; this "zap" pushes to eliminate bias, prejudice, and ignorance of all kinds. An example of a "zap" throughout history: - New York Radical Feminists protest at the Miss America Pageant in 1968; feminists dressed up a sheep as Miss America and threw symbols of women's oppression "Zap" actions worked not only to disrupt normative discourse, but also to educate gay people themselves. === Ethos === Queer Ethos resists normative discourse and rejects fixed ideas about who or what is defined as the "acceptable" queer person(s). Queer Ethos is all encapsulating and is a reflection of the diversity of queerness. Queer Ethos does not rely on definitive structures of"right queer" or "wrong queer." === Archives === == Archives == == Bibliography == In 2015, Matthew B. Cox and Michael J. Faris developed this annotated bibliography of "LGBTQ Rhetorics" http://www.presenttensejournal.org/volume-4/an-annotated-bibliography-of-lgbtq-rhetorics/ == References == <references/> dd9a3987ddd2ce91fe3d36cc8206093a2e0f4fce 176 175 2022-09-14T22:18:46Z Dkreisl 20 /* Logos */ wikitext text/x-wiki Queer Rhetorics resists definition, as == Rhodes and Alexander == === Logos === Heteronormativity says that it is logical to be straight or hetero and it is illogical to be queer, so to be loudly queer is to break the logos that our culture relies on. It was interesting with the mention of the "bromance" relationships that have continued to further the heteronormative logic that has trapped our society and forced the queer community to stay in the closet for so long, because like the article says that heteronormative logic makes people define what emotions their emitting, so that they may not be seen as queer or gay or into their guy friends as more than a friend, which leads into different kinds of relationships, this is just an example. Lesbian avengers go against the heteronormative idea of women being only nurturing and soft. The reaction of the government to AIDS labeling it as a "gay disease"; Vito Russo talks about and makes the point that if it was more rich heterosexual white men getting the disease, the government would have had a completely different reaction, thus furthering the idea of the heteronormative logos surrounding our society. === Pathos === What is pathos in Queer Rhetorics? Why does pathos need to be addressed in visible queering? Emotion-evoking queer promotes the audience/ viewer to feel a certain way. As stated in the article, "visibility becomes, in so many significant ways, the pressing rhetorical strategy- and need- of LGBT rights movements. Through the emotion appealing actions through queer rhetorics, a sort of "zapping" occurs; this "zap" pushes to eliminate bias, prejudice, and ignorance of all kinds. An example of a "zap" throughout history: - New York Radical Feminists protest at the Miss America Pageant in 1968; feminists dressed up a sheep as Miss America and threw symbols of women's oppression "Zap" actions worked not only to disrupt normative discourse, but also to educate gay people themselves. === Ethos === Queer Ethos resists normative discourse and rejects fixed ideas about who or what is defined as the "acceptable" queer person(s). Queer Ethos is all encapsulating and is a reflection of the diversity of queerness. Queer Ethos does not rely on definitive structures of"right queer" or "wrong queer." === Archives === == Archives == == Bibliography == In 2015, Matthew B. Cox and Michael J. Faris developed this annotated bibliography of "LGBTQ Rhetorics" http://www.presenttensejournal.org/volume-4/an-annotated-bibliography-of-lgbtq-rhetorics/ == References == <references/> 6a099cec551718d968d99f19a376ede127e96886 0 29 177 2022-09-14T22:54:57Z Catherinecunningham 8 Created page with "Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer..." wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine Rico Gutierez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Sodomy == I would like to preface this heading by saying that more straight couples have anal sex than queer couples, that being said, sodomy laws have historically been used as a way to discriminate against queer individuals and uphold heteronormative practices. == Queer Discrimination == == References == <references/> 1e3f181c170b77f7a7ff97463537caa8c3600548 178 177 2022-09-14T23:03:00Z Catherinecunningham 8 wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Sodomy == I would like to preface this heading by saying that more straight couples have anal sex than queer couples, that being said, sodomy laws have historically been used as a way to discriminate against queer individuals and uphold heteronormative practices. == Queer Discrimination == == References == <references/> 4420db16943fe7f24fd55745d5b045054a5e7569 179 178 2022-09-14T23:14:59Z Catherinecunningham 8 wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Sodomy == I would like to preface this heading by saying that more straight couples have anal sex than queer couples, that being said, sodomy laws have historically been used as a way to discriminate against queer individuals and uphold heteronormative practices. == Queer Discrimination == == References == <references/> be8e4df7cfbd01b7e345416afaff23dfc1b46000 181 179 2022-09-15T20:32:56Z Catherinecunningham 8 /* Queer Marriage */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know ''Obergefell v. Hodges'' that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, ''Barker v. Nelson''. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in ''United States v. Windsor''. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman. The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, ''Obergefell v. Hodges''. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Sodomy == I would like to preface this heading by saying that more straight couples have anal sex than queer couples, that being said, sodomy laws have historically been used as a way to discriminate against queer individuals and uphold heteronormative practices. == Queer Discrimination == == References == <references/> 3ff21d5400333cddc3013315ea078253050b6b50 182 181 2022-09-15T20:36:04Z Catherinecunningham 8 /* Queer Marriage */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know ''Obergefell v. Hodges'' that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, ''Barker v. Nelson''. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in ''United States v. Windsor''. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman. The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, ''Obergefell v. Hodges''. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law. While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Sodomy == I would like to preface this heading by saying that more straight couples have anal sex than queer couples, that being said, sodomy laws have historically been used as a way to discriminate against queer individuals and uphold heteronormative practices. == Queer Discrimination == == References == <references/> 6e4d81ada35a60e26cbe3eb2c4b17c05ef230d04 183 182 2022-09-15T20:40:03Z Catherinecunningham 8 /* Queer Marriage */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges''] that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman. The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law. While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Sodomy == I would like to preface this heading by saying that more straight couples have anal sex than queer couples, that being said, sodomy laws have historically been used as a way to discriminate against queer individuals and uphold heteronormative practices. == Queer Discrimination == == References == <references/> 223b5943ce736f9028c323c629ed18a755bda6ba 184 183 2022-09-15T21:25:48Z Catherinecunningham 8 /* Queer Marriage */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges''] that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman. The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law. While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Sodomy == I would like to preface this heading by saying that more straight couples have anal sex than queer couples, that being said, sodomy laws have historically been used as a way to discriminate against queer individuals and uphold heteronormative practices. == Queer Discrimination == == References == <references/> b02fb4956c5182d37a7acea130ba36e8b761aafd 185 184 2022-09-15T21:27:26Z Catherinecunningham 8 /* Queer Marriage */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know ''Obergefell v. Hodges'' <ref> ''Obergefell v. Hodges'' [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman. The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law. While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Sodomy == I would like to preface this heading by saying that more straight couples have anal sex than queer couples, that being said, sodomy laws have historically been used as a way to discriminate against queer individuals and uphold heteronormative practices. == Queer Discrimination == == References == <references/> 1f308e6d31739100782e4f76c74ee11bfbb42c85 186 185 2022-09-15T21:29:00Z Catherinecunningham 8 /* Queer Marriage */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman. The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law. While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Sodomy == I would like to preface this heading by saying that more straight couples have anal sex than queer couples, that being said, sodomy laws have historically been used as a way to discriminate against queer individuals and uphold heteronormative practices. == Queer Discrimination == == References == <references/> d7fa25609f8c9e7d9a5016bc6f4796949d618d8a 187 186 2022-09-15T21:30:57Z Catherinecunningham 8 /* Queer Marriage */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman. The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Sodomy == I would like to preface this heading by saying that more straight couples have anal sex than queer couples, that being said, sodomy laws have historically been used as a way to discriminate against queer individuals and uphold heteronormative practices. == Queer Discrimination == == References == <references/> a5636d007d83bb967a92bdcb1e4c8dee1ed733b8 188 187 2022-09-15T21:34:51Z Catherinecunningham 8 /* Queer Marriage */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman <ref>Defense of Marriage Act, Cornell University School of Law[https://www.law.cornell.edu/wex/defense_of_marriage_act_(doma)]</ref> . The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Sodomy == I would like to preface this heading by saying that more straight couples have anal sex than queer couples, that being said, sodomy laws have historically been used as a way to discriminate against queer individuals and uphold heteronormative practices. == Queer Discrimination == == References == <references/> 02aa6c44e9f75b5107e443e7b1ec6ef790f40488 189 188 2022-09-15T21:35:52Z Catherinecunningham 8 /* Queer Marriage */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman <ref>Defense of Marriage Act, Cornell University School of Law[https://www.law.cornell.edu/wex/defense_of_marriage_act_(doma)]</ref> . The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Sodomy == I would like to preface this heading by saying that more straight couples have anal sex than queer couples, that being said, sodomy laws have historically been used as a way to discriminate against queer individuals and uphold heteronormative practices. == Queer Discrimination == == References == <references/> 4b30cad1f374d77c1972dac50ec9dbbc80e1dceb 190 189 2022-09-15T21:41:08Z Catherinecunningham 8 /* Queer Sex Discrimination Through Sodomy */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman <ref>Defense of Marriage Act, Cornell University School of Law[https://www.law.cornell.edu/wex/defense_of_marriage_act_(doma)]</ref> . The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Sodomy == == Queer Discrimination == == References == <references/> 6d75fcac12c51f83798cfd0e8fd12180bb4a5fbb 191 190 2022-09-15T21:46:47Z Catherinecunningham 8 /* Queer Sex Discrimination Through Sodomy */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman <ref>Defense of Marriage Act, Cornell University School of Law[https://www.law.cornell.edu/wex/defense_of_marriage_act_(doma)]</ref> . The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Anti-Sodomy Laws == It is important to recognize before we begin this heading, that anal intercourse and "sodomy" are not exclusive practices to the queer community. In fact 36% of women and 44% of men have engaged in heterosexual anal intercourse in their lifetimes <ref> HHS, "Prevalence and Correlates of Heterosexual Anal Intercourse among Men and Women, 20 U.S. Cities" [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4949144/]</ref>. Since anal intercourse is so prominent among straight couples, it may seem arbitrary to include anti-sodomy laws in this Wiki. However, anti-sodomy laws have historically been used as a way to intimidate and oppress queer couples and further stigmatize the idea of queer relationships in the public. These cases hold weight when we discuss queer activism through judicial decisions. == Queer Discrimination == == References == <references/> 31c8aad5dfd18d8eebab97ea6b5d48659ce1ae64 192 191 2022-09-15T21:49:15Z Catherinecunningham 8 /* Queer Sex Discrimination Through Anti-Sodomy Laws */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman <ref>Defense of Marriage Act, Cornell University School of Law[https://www.law.cornell.edu/wex/defense_of_marriage_act_(doma)]</ref> . The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Anti-Sodomy Laws == It is important to recognize before we begin this heading, that anal intercourse and "sodomy"<ref> Cornell University School of Law, Legal Definition of "Sodomizing"[https://www.law.cornell.edu/wex/sodomy#:~:text=As%20explained%20in%20this%20case,mainly%20consisted%20of%20anal%20sex]</ref> are not exclusive practices to the queer community. In fact 36% of women and 44% of men have engaged in heterosexual anal intercourse in their lifetimes <ref> HHS, "Prevalence and Correlates of Heterosexual Anal Intercourse among Men and Women, 20 U.S. Cities" [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4949144/]</ref>. Since anal intercourse is so prominent among straight couples, it may seem arbitrary to include anti-sodomy laws in this Wiki. However, anti-sodomy laws have historically been used as a way to intimidate and oppress queer couples and further stigmatize the idea of queer relationships in the public. These cases hold weight when we discuss queer activism through judicial decisions. == Queer Discrimination == == References == <references/> 0ccdfb1846c8a9222828ab684a07dcbeb7a919f3 193 192 2022-09-15T21:49:47Z Catherinecunningham 8 /* Queer Sex Discrimination Through Anti-Sodomy Laws */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman <ref>Defense of Marriage Act, Cornell University School of Law[https://www.law.cornell.edu/wex/defense_of_marriage_act_(doma)]</ref> . The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Anti-Sodomy Laws == It is important to recognize before we begin this heading, that anal intercourse and "sodomy"<ref> Cornell University School of Law, Legal Definition of "Sodomizing"[https://www.law.cornell.edu/wex/sodomy#:~:text=As%20explained%20in%20this%20case,mainly%20consisted%20of%20anal%20sex]</ref> are not exclusive practices to the queer community. In fact 36% of women and 44% of men have engaged in heterosexual anal intercourse in their lifetimes <ref> HHS, "Prevalence and Correlates of Heterosexual Anal Intercourse among Men and Women, 20 U.S. Cities" [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4949144/]</ref>. Since anal intercourse is so prominent among straight couples, it may seem arbitrary to include anti-sodomy laws in this Wiki. However, anti-sodomy laws have historically been used as a way to intimidate and oppress queer couples and further stigmatize the idea of queer relationships in the public. These cases hold weight when we discuss queer activism through judicial decisions. == Queer Discrimination == == References == <references/> 80ea80c7c36aa4ca47015440812c110ad75d1f4c 194 193 2022-09-15T21:54:25Z Catherinecunningham 8 /* Queer Sex Discrimination Through Anti-Sodomy Laws */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman <ref>Defense of Marriage Act, Cornell University School of Law[https://www.law.cornell.edu/wex/defense_of_marriage_act_(doma)]</ref> . The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Activism == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine, Albert "Rico" Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. == Queer Sex Discrimination Through Anti-Sodomy Laws == It is important to recognize before we begin this heading, that anal intercourse and "sodomy"<ref> Cornell University School of Law, Legal Definition of "Sodomizing"[https://www.law.cornell.edu/wex/sodomy#:~:text=As%20explained%20in%20this%20case,mainly%20consisted%20of%20anal%20sex]</ref> are not exclusive practices to the queer community. In fact 36% of women and 44% of men have engaged in heterosexual anal intercourse in their lifetimes <ref> HHS, "Prevalence and Correlates of Heterosexual Anal Intercourse among Men and Women, 20 U.S. Cities" [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4949144/]</ref>. Since anal intercourse is so prominent among straight couples, it may seem arbitrary to include anti-sodomy laws in this Wiki. However, anti-sodomy laws have historically been used as a way to intimidate and oppress queer couples and further stigmatize the idea of queer relationships in the public<ref> Shifting the Scene of the Crime: Sodomy and the American History of Sexual Violence[https://muse-jhu-edu.ezproxy.tcu.edu/article/380333]</ref>. These cases hold weight when we discuss queer activism through judicial decisions. == Queer Discrimination == == References == <references/> b23f964cc9ba371b2d5c54dfd62574e104046904 195 194 2022-09-16T18:06:28Z Catherinecunningham 8 /* HIV/AIDS Activism */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman <ref>Defense of Marriage Act, Cornell University School of Law[https://www.law.cornell.edu/wex/defense_of_marriage_act_(doma)]</ref> . The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Criminalization == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine Albert “Rico” Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. I would also like to say a special thanks to Rico's partner, Roy, for his gracious gift of sharing his direct experience with being an openly gay man during the height of the AIDs epidemic. It is incredibly important to remember the trauma and oppression experienced by the queer community, and having the honor to share parts of his story through this archive is one I do not take lightly. HIV/AIDs activism is a part of queer history that we often do not talk about. This part of the past is fraught with oppression, marginalization, and trauma. Queer individuals had virtually no rights. In queering the judicial history of HIV/AIDs criminalization, it's important to discuss the effects it's had on individuals at a personal level. Throughout this section I will be interweaving personal testimony from a member of the queer community who was HIV positive during the height of the AIDs epidemic. == Queer Sex Discrimination Through Anti-Sodomy Laws == It is important to recognize before we begin this heading, that anal intercourse and "sodomy"<ref> Cornell University School of Law, Legal Definition of "Sodomizing"[https://www.law.cornell.edu/wex/sodomy#:~:text=As%20explained%20in%20this%20case,mainly%20consisted%20of%20anal%20sex]</ref> are not exclusive practices to the queer community. In fact 36% of women and 44% of men have engaged in heterosexual anal intercourse in their lifetimes <ref> HHS, "Prevalence and Correlates of Heterosexual Anal Intercourse among Men and Women, 20 U.S. Cities" [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4949144/]</ref>. Since anal intercourse is so prominent among straight couples, it may seem arbitrary to include anti-sodomy laws in this Wiki. However, anti-sodomy laws have historically been used as a way to intimidate and oppress queer couples and further stigmatize the idea of queer relationships in the public<ref> Shifting the Scene of the Crime: Sodomy and the American History of Sexual Violence[https://muse-jhu-edu.ezproxy.tcu.edu/article/380333]</ref>. These cases hold weight when we discuss queer activism through judicial decisions. == Queer Discrimination == == References == <references/> f5daafc18f599cc276d42a4145007c2e18ad5d70 196 195 2022-09-17T21:42:26Z Catherinecunningham 8 /* HIV/AIDS Criminalization */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman <ref>Defense of Marriage Act, Cornell University School of Law[https://www.law.cornell.edu/wex/defense_of_marriage_act_(doma)]</ref> . The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Criminalization == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine Albert “Rico” Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. I would also to say a special thanks to Ricos partner, Roy Hudgens, for his gracious gift of sharing his direct experience with being an openly gay man during the height of the AIDs epidemic. It is incredibly important to remember the trauma and oppression experienced by the queer community, and having the honor to share parts of his story through this archive is one I do not take lightly. HIV/AIDs activism is a part of queer history that we often do not talk about. This part of the past is fraught with oppression, marginalization, and trauma. Queer individuals had virtually no rights. In queering the judicial history of HIV/AIDs criminalization, it's important to discuss the effects it's had on individuals at a personal level. Throughout this section I will be interweaving personal testimony from a member of the queer community who was HIV positive during the height of the AIDs epidemic. In 1988 the [https://www.hivlawandpolicy.org/resources/chalk-v-us-district-court-central-district-california-840-f2d-701-9th-cir-1988 U.S. District Court Central District of California] ruled on one of the first AIDs cases. The case involved a public school teacher who was AIDs positive. The school district demanded that Mr. Chalk work in an administrative role despite the fact that epidemiologists said Mr. Chalk was cleared to work in the classroom. Mr. Chalk sued his school district and the court ruled in his favor. The hallmark of HIV/AIDs judicial cases is [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott'']. Ms. Abbott was HIV positive and needed a tooth pulled. Dr. Bragdon refused to serve her on account of her diagnosis, and Ms. Abbott sued his dentist office. The court ruled in favor of Bragdon, saying that the ADA does not force individual healthcare practices to serve people who have “contagious diseases”. This case furthered the stigmatization of AIDs and HIV, and stripped those who were HIV positive from their right to healthcare. This had personal implications on every HIV positive individual. Sharing one their most traumatic experiences, an anonymous HIV positive individual from the 1980s told me a near identical story as the one in [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott'']. They needed a tooth pulled for a wedding and had to go through fourteen different dentists until they found a dentist who was willing to serve them. When they went to the only dentist in the area that would serve them, the dentist office had cleared out the whole practice and all of the hygienists were in full hazmats suits. You can imagine the trauma and feelings of isolation that stemmed from this event and other similar events experienced by this individual. Furthermore, their experiences of stigmatization and isolation surrounding not only their status as HIV positive but also their queerness led them down a path of alcoholism and drug abuse. There is a high rate of queer individuals from the height of the AIDs epidemic who experienced addiction and alcohol/drug abuse because of the trauma from the AIDs epidemic<ref> HHS Stigma and Family Relationships of Middle-Aged Gay Men in Recovery[https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4833399/]</ref>. [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott''] directly impacted this by making the stigmatization even more salient and completely legal. In a recent case that was dismissed before being argued in front of the court [https://www.law.cornell.edu/supct/cert/20-1374 ''CVS Inc. v. Doe'' (2021)], anonymous individuals who receive medication for HIV/AIDs through the CVS care program sued CVS for discriminating. These anonymous individuals were unable to order their medication elsewhere without it costing thousands of dollars, and were forced to either have the medication delivered to their house or picked up in-store. The case was dismissed, but if it hadn’t been, there could have been serious implications as to whether or not individuals with HIV/AIDs could afford and access their necessary medications. This case also shows that the court is willing to revisit some of the issues established in former HIV/AIDs [https://www.aclu-mn.org/en/cases/state-minnesota-v-rick ''Minnesota v. Rick''], a case ruled in 2013 was a huge victory for HIV positive individuals. Rick, an HIV positive individual, engaged in consensual sex with a partner after disclosing his HIV status. The state of Minnesota prosecuted him based on a law that says individuals with HIV can not engage in sexual relationships even if they have disclosed their HIV status. Clearly criminalizing sex should be looked down upon, and any archaic law that criminalizes peoples consensual sexual practices should be overturned. In this case, the court did overturn and ruled that since Rick had disclosed his status and the relationship was consensual, there was no law broken. This was a huge step in the recognition of arbitrary and stigmatized laws that disallowed HIV/AIDs positive individuals basic human rights. Clearly, HIV/AIDs criminalization is an ongoing discussion. There is still intense stigma surrounding HIV/AIDs positive individuals, and severe homophobia surrounding this aspect of queer relationships. HIV/AIDs can be contracted by anyone, but the nature of its epidemic in the 1980s was based around a general homophobic view of the entire nation. == Queer Sex Discrimination Through Anti-Sodomy Laws == It is important to recognize before we begin this heading, that anal intercourse and "sodomy"<ref> Cornell University School of Law, Legal Definition of "Sodomizing"[https://www.law.cornell.edu/wex/sodomy#:~:text=As%20explained%20in%20this%20case,mainly%20consisted%20of%20anal%20sex]</ref> are not exclusive practices to the queer community. In fact 36% of women and 44% of men have engaged in heterosexual anal intercourse in their lifetimes <ref> HHS, "Prevalence and Correlates of Heterosexual Anal Intercourse among Men and Women, 20 U.S. Cities" [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4949144/]</ref>. Since anal intercourse is so prominent among straight couples, it may seem arbitrary to include anti-sodomy laws in this Wiki. However, anti-sodomy laws have historically been used as a way to intimidate and oppress queer couples and further stigmatize the idea of queer relationships in the public<ref> Shifting the Scene of the Crime: Sodomy and the American History of Sexual Violence[https://muse-jhu-edu.ezproxy.tcu.edu/article/380333]</ref>. These cases hold weight when we discuss queer activism through judicial decisions. == Queer Discrimination == == References == <references/> e05ae71e43b43fb0d73213ce6888a87a557f019a 197 196 2022-09-17T21:57:57Z Catherinecunningham 8 /* Queer Sex Discrimination Through Anti-Sodomy Laws */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman <ref>Defense of Marriage Act, Cornell University School of Law[https://www.law.cornell.edu/wex/defense_of_marriage_act_(doma)]</ref> . The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Criminalization == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine Albert “Rico” Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. I would also to say a special thanks to Ricos partner, Roy Hudgens, for his gracious gift of sharing his direct experience with being an openly gay man during the height of the AIDs epidemic. It is incredibly important to remember the trauma and oppression experienced by the queer community, and having the honor to share parts of his story through this archive is one I do not take lightly. HIV/AIDs activism is a part of queer history that we often do not talk about. This part of the past is fraught with oppression, marginalization, and trauma. Queer individuals had virtually no rights. In queering the judicial history of HIV/AIDs criminalization, it's important to discuss the effects it's had on individuals at a personal level. Throughout this section I will be interweaving personal testimony from a member of the queer community who was HIV positive during the height of the AIDs epidemic. In 1988 the [https://www.hivlawandpolicy.org/resources/chalk-v-us-district-court-central-district-california-840-f2d-701-9th-cir-1988 U.S. District Court Central District of California] ruled on one of the first AIDs cases. The case involved a public school teacher who was AIDs positive. The school district demanded that Mr. Chalk work in an administrative role despite the fact that epidemiologists said Mr. Chalk was cleared to work in the classroom. Mr. Chalk sued his school district and the court ruled in his favor. The hallmark of HIV/AIDs judicial cases is [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott'']. Ms. Abbott was HIV positive and needed a tooth pulled. Dr. Bragdon refused to serve her on account of her diagnosis, and Ms. Abbott sued his dentist office. The court ruled in favor of Bragdon, saying that the ADA does not force individual healthcare practices to serve people who have “contagious diseases”. This case furthered the stigmatization of AIDs and HIV, and stripped those who were HIV positive from their right to healthcare. This had personal implications on every HIV positive individual. Sharing one their most traumatic experiences, an anonymous HIV positive individual from the 1980s told me a near identical story as the one in [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott'']. They needed a tooth pulled for a wedding and had to go through fourteen different dentists until they found a dentist who was willing to serve them. When they went to the only dentist in the area that would serve them, the dentist office had cleared out the whole practice and all of the hygienists were in full hazmats suits. You can imagine the trauma and feelings of isolation that stemmed from this event and other similar events experienced by this individual. Furthermore, their experiences of stigmatization and isolation surrounding not only their status as HIV positive but also their queerness led them down a path of alcoholism and drug abuse. There is a high rate of queer individuals from the height of the AIDs epidemic who experienced addiction and alcohol/drug abuse because of the trauma from the AIDs epidemic<ref> HHS Stigma and Family Relationships of Middle-Aged Gay Men in Recovery[https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4833399/]</ref>. [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott''] directly impacted this by making the stigmatization even more salient and completely legal. In a recent case that was dismissed before being argued in front of the court [https://www.law.cornell.edu/supct/cert/20-1374 ''CVS Inc. v. Doe'' (2021)], anonymous individuals who receive medication for HIV/AIDs through the CVS care program sued CVS for discriminating. These anonymous individuals were unable to order their medication elsewhere without it costing thousands of dollars, and were forced to either have the medication delivered to their house or picked up in-store. The case was dismissed, but if it hadn’t been, there could have been serious implications as to whether or not individuals with HIV/AIDs could afford and access their necessary medications. This case also shows that the court is willing to revisit some of the issues established in former HIV/AIDs [https://www.aclu-mn.org/en/cases/state-minnesota-v-rick ''Minnesota v. Rick''], a case ruled in 2013 was a huge victory for HIV positive individuals. Rick, an HIV positive individual, engaged in consensual sex with a partner after disclosing his HIV status. The state of Minnesota prosecuted him based on a law that says individuals with HIV can not engage in sexual relationships even if they have disclosed their HIV status. Clearly criminalizing sex should be looked down upon, and any archaic law that criminalizes peoples consensual sexual practices should be overturned. In this case, the court did overturn and ruled that since Rick had disclosed his status and the relationship was consensual, there was no law broken. This was a huge step in the recognition of arbitrary and stigmatized laws that disallowed HIV/AIDs positive individuals basic human rights. Clearly, HIV/AIDs criminalization is an ongoing discussion. There is still intense stigma surrounding HIV/AIDs positive individuals, and severe homophobia surrounding this aspect of queer relationships. HIV/AIDs can be contracted by anyone, but the nature of its epidemic in the 1980s was based around a general homophobic view of the entire nation. == Queer Sex Discrimination Through Anti-Sodomy Laws == It is important to recognize before we begin this heading, that anal intercourse and "sodomy"<ref> Cornell University School of Law, Legal Definition of "Sodomizing"[https://www.law.cornell.edu/wex/sodomy#:~:text=As%20explained%20in%20this%20case,mainly%20consisted%20of%20anal%20sex]</ref> are not exclusive practices to the queer community. In fact 36% of women and 44% of men have engaged in heterosexual anal intercourse in their lifetimes <ref> HHS, "Prevalence and Correlates of Heterosexual Anal Intercourse among Men and Women, 20 U.S. Cities" [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4949144/]</ref>. Since anal intercourse is so prominent among straight couples, it may seem arbitrary to include anti-sodomy laws in this Wiki. However, anti-sodomy laws have historically been used as a way to intimidate and oppress queer couples and further stigmatize the idea of queer relationships in the public<ref> Shifting the Scene of the Crime: Sodomy and the American History of Sexual Violence[https://muse-jhu-edu.ezproxy.tcu.edu/article/380333]</ref>. These cases hold weight when we discuss queer activism through judicial decisions. In 1986 the court upheld a Georgia law outlawing sodomy. In [https://www.oyez.org/cases/1985/85-140 ''Bowers v. Hardwick''], Michael Hardwick was observed by a police officer engaging in consensual anal intercourse with a male partner. Hardwick challenged the laws constitutionality in the Supreme Court. The Supreme Court ruled in favor of the state of Georgia. Obviously this was a devastating blow to every sexually active individual in the state of Georgia. As previously mentioned, we know many heterosexual couples engage in anal intercourse. But this ruling was particularly directed at the queer community. Sodomy laws have been used consistently as a way to threaten and intimidate the queer community. By making a certain kind of intercourse illegal, a kind of intercourse that is frequently exchanged between members of the queer community, the state of Georgia, and country as a whole, was criminalizing being queer. They were making a statement, if you are not upholding our heteronormative practices and what we deem to be “normal”, then you are not welcome here, and you have no rights here. But what is “normal” anyway? Queer judicial activism and queer rhetoric in general seeks to uproot our traditional ideas of “normal”, and sodomy/sex discrimination is one homophobic people continue to fight for an arbitrary “normal” and “abnormal” binary. In 2003 the court overturned [https://www.oyez.org/cases/1985/85-140 ''Bowers v. Hardwick''] in the hallmark case [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas'']. The court ruled that criminalizing sexual intercourse between any individuals violates the right to Due Process as established by the 14th amendment. This was a time in the courts history when it reaffirmed the rights of queer individuals, and all who engage in consensual anal intercourse. They made a statement by saying all intercourse is intercourse, and there is no “normal” intercourse. We should all be able to do what we want. [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas''] is still the court precedent when it comes to laws that criminalize sodomy, but there have been rumblings that the court may seek to overturn soon. It is imperative that we keep the precedent as established in [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas''] in order to continue the advancement of human rights in this country and further, destigmatize and decriminalize queer love. == Queer Discrimination == == References == <references/> 01fbc116898c7d0bc13c33cb8457d9d0adf0f05b 198 197 2022-09-18T22:23:54Z Catherinecunningham 8 /* Queer Discrimination */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman <ref>Defense of Marriage Act, Cornell University School of Law[https://www.law.cornell.edu/wex/defense_of_marriage_act_(doma)]</ref> . The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Criminalization == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine Albert “Rico” Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. I would also to say a special thanks to Ricos partner, Roy Hudgens, for his gracious gift of sharing his direct experience with being an openly gay man during the height of the AIDs epidemic. It is incredibly important to remember the trauma and oppression experienced by the queer community, and having the honor to share parts of his story through this archive is one I do not take lightly. HIV/AIDs activism is a part of queer history that we often do not talk about. This part of the past is fraught with oppression, marginalization, and trauma. Queer individuals had virtually no rights. In queering the judicial history of HIV/AIDs criminalization, it's important to discuss the effects it's had on individuals at a personal level. Throughout this section I will be interweaving personal testimony from a member of the queer community who was HIV positive during the height of the AIDs epidemic. In 1988 the [https://www.hivlawandpolicy.org/resources/chalk-v-us-district-court-central-district-california-840-f2d-701-9th-cir-1988 U.S. District Court Central District of California] ruled on one of the first AIDs cases. The case involved a public school teacher who was AIDs positive. The school district demanded that Mr. Chalk work in an administrative role despite the fact that epidemiologists said Mr. Chalk was cleared to work in the classroom. Mr. Chalk sued his school district and the court ruled in his favor. The hallmark of HIV/AIDs judicial cases is [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott'']. Ms. Abbott was HIV positive and needed a tooth pulled. Dr. Bragdon refused to serve her on account of her diagnosis, and Ms. Abbott sued his dentist office. The court ruled in favor of Bragdon, saying that the ADA does not force individual healthcare practices to serve people who have “contagious diseases”. This case furthered the stigmatization of AIDs and HIV, and stripped those who were HIV positive from their right to healthcare. This had personal implications on every HIV positive individual. Sharing one their most traumatic experiences, an anonymous HIV positive individual from the 1980s told me a near identical story as the one in [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott'']. They needed a tooth pulled for a wedding and had to go through fourteen different dentists until they found a dentist who was willing to serve them. When they went to the only dentist in the area that would serve them, the dentist office had cleared out the whole practice and all of the hygienists were in full hazmats suits. You can imagine the trauma and feelings of isolation that stemmed from this event and other similar events experienced by this individual. Furthermore, their experiences of stigmatization and isolation surrounding not only their status as HIV positive but also their queerness led them down a path of alcoholism and drug abuse. There is a high rate of queer individuals from the height of the AIDs epidemic who experienced addiction and alcohol/drug abuse because of the trauma from the AIDs epidemic<ref> HHS Stigma and Family Relationships of Middle-Aged Gay Men in Recovery[https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4833399/]</ref>. [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott''] directly impacted this by making the stigmatization even more salient and completely legal. In a recent case that was dismissed before being argued in front of the court [https://www.law.cornell.edu/supct/cert/20-1374 ''CVS Inc. v. Doe'' (2021)], anonymous individuals who receive medication for HIV/AIDs through the CVS care program sued CVS for discriminating. These anonymous individuals were unable to order their medication elsewhere without it costing thousands of dollars, and were forced to either have the medication delivered to their house or picked up in-store. The case was dismissed, but if it hadn’t been, there could have been serious implications as to whether or not individuals with HIV/AIDs could afford and access their necessary medications. This case also shows that the court is willing to revisit some of the issues established in former HIV/AIDs [https://www.aclu-mn.org/en/cases/state-minnesota-v-rick ''Minnesota v. Rick''], a case ruled in 2013 was a huge victory for HIV positive individuals. Rick, an HIV positive individual, engaged in consensual sex with a partner after disclosing his HIV status. The state of Minnesota prosecuted him based on a law that says individuals with HIV can not engage in sexual relationships even if they have disclosed their HIV status. Clearly criminalizing sex should be looked down upon, and any archaic law that criminalizes peoples consensual sexual practices should be overturned. In this case, the court did overturn and ruled that since Rick had disclosed his status and the relationship was consensual, there was no law broken. This was a huge step in the recognition of arbitrary and stigmatized laws that disallowed HIV/AIDs positive individuals basic human rights. Clearly, HIV/AIDs criminalization is an ongoing discussion. There is still intense stigma surrounding HIV/AIDs positive individuals, and severe homophobia surrounding this aspect of queer relationships. HIV/AIDs can be contracted by anyone, but the nature of its epidemic in the 1980s was based around a general homophobic view of the entire nation. == Queer Sex Discrimination Through Anti-Sodomy Laws == It is important to recognize before we begin this heading, that anal intercourse and "sodomy"<ref> Cornell University School of Law, Legal Definition of "Sodomizing"[https://www.law.cornell.edu/wex/sodomy#:~:text=As%20explained%20in%20this%20case,mainly%20consisted%20of%20anal%20sex]</ref> are not exclusive practices to the queer community. In fact 36% of women and 44% of men have engaged in heterosexual anal intercourse in their lifetimes <ref> HHS, "Prevalence and Correlates of Heterosexual Anal Intercourse among Men and Women, 20 U.S. Cities" [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4949144/]</ref>. Since anal intercourse is so prominent among straight couples, it may seem arbitrary to include anti-sodomy laws in this Wiki. However, anti-sodomy laws have historically been used as a way to intimidate and oppress queer couples and further stigmatize the idea of queer relationships in the public<ref> Shifting the Scene of the Crime: Sodomy and the American History of Sexual Violence[https://muse-jhu-edu.ezproxy.tcu.edu/article/380333]</ref>. These cases hold weight when we discuss queer activism through judicial decisions. In 1986 the court upheld a Georgia law outlawing sodomy. In [https://www.oyez.org/cases/1985/85-140 ''Bowers v. Hardwick''], Michael Hardwick was observed by a police officer engaging in consensual anal intercourse with a male partner. Hardwick challenged the laws constitutionality in the Supreme Court. The Supreme Court ruled in favor of the state of Georgia. Obviously this was a devastating blow to every sexually active individual in the state of Georgia. As previously mentioned, we know many heterosexual couples engage in anal intercourse. But this ruling was particularly directed at the queer community. Sodomy laws have been used consistently as a way to threaten and intimidate the queer community. By making a certain kind of intercourse illegal, a kind of intercourse that is frequently exchanged between members of the queer community, the state of Georgia, and country as a whole, was criminalizing being queer. They were making a statement, if you are not upholding our heteronormative practices and what we deem to be “normal”, then you are not welcome here, and you have no rights here. But what is “normal” anyway? Queer judicial activism and queer rhetoric in general seeks to uproot our traditional ideas of “normal”, and sodomy/sex discrimination is one homophobic people continue to fight for an arbitrary “normal” and “abnormal” binary. In 2003 the court overturned [https://www.oyez.org/cases/1985/85-140 ''Bowers v. Hardwick''] in the hallmark case [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas'']. The court ruled that criminalizing sexual intercourse between any individuals violates the right to Due Process as established by the 14th amendment. This was a time in the courts history when it reaffirmed the rights of queer individuals, and all who engage in consensual anal intercourse. They made a statement by saying all intercourse is intercourse, and there is no “normal” intercourse. We should all be able to do what we want. [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas''] is still the court precedent when it comes to laws that criminalize sodomy, but there have been rumblings that the court may seek to overturn soon. It is imperative that we keep the precedent as established in [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas''] in order to continue the advancement of human rights in this country and further, destigmatize and decriminalize queer love. == Queer Discrimination == Through the years the Supreme Court has consistently worked to suppress the rights of queer individuals and promote heteronormative values. Discrimination against the queer community spans across all avenues of life. These cases show that over and over again the court has ruled that discrimination against the queer community is allowed in many spaces. By discussing these cases we can see the evolutions and stabilities of queer discrimination through the courts. Starting with [https://www.oyez.org/cases/1999/99-699 ''The Boy Scouts of America v. Dale''], ruled in 1966. Dale was a boy scout, in fact, a boy scout with high honors. When Dale went to Rutgers University, he came out as gay and spoke publicly about how important it is that young gay men have good role models through the Boy Scouts. The Boy Scouts stripped Dale of all of his high honors, because in their code of conduct they do not allow members of the organization to be publicly gay<ref>ACLU, U.S. Supreme Court Ruling that Boy Scouts can Discriminate is 'Damaging but Limited'[https://www.aclu.org/press-releases/us-supreme-court-ruling-boy-scouts-can-discriminate-damaging-limited-aclu-says]</ref>. Dale sued saying that the Boy Scouts of America had violated the New Jersey Statute that prohibited discrimination on the basis of sexuality<ref> NJ Office of the Attorney General, 5 Things You Should Know about the New Jersey Law Against Discrimination[https://www.nj.gov/lps/dcr/downloads/fact_LAD.pdf]</ref>. The Supreme Court ruled that since the Boy Scouts of America are a private organization, their rules and code of conduct stand, and they did not violate the discrimination statute. The Supreme Court made a clear choice to continue the discrimination against queer individuals, and find that private corporation documents supersede laws established and created by legislators. This was clearly an action by the court in order to continue to squash the rights of queer individuals and uphold heteronormative standards of practice. 30 years after [https://www.oyez.org/cases/1999/99-699 ''Boy Scouts of America v. Dale''], the court made a choice that helped protect queer individuals from discrimination. In [https://www.oyez.org/cases/1995/94-1039 ''Romer v. Evans''], the court evaluated an amendment to the Colorado constitution that said there would be no action taken by any branch of the government if a queer individual was discriminated against<ref> Colorado Encyclopedia, Amendment 2[https://coloradoencyclopedia.org/article/amendment-2]</ref>. The Supreme Court held that this was a violation of the due process clause, and that queer individuals should not be discriminated against, and the state of Colorado should hold those who partake in discriminatory actions against queer persons accountable. [https://www.oyez.org/cases/1995/94-1039 ''Romer''] affirmed the idea that queer individuals deserve equal rights, and showed that queer persons can not be discriminated against. Earlier than both of these cases, the court ordered that speech in favor of queer individuals is protected by the first amendment and not obscene. In 1958, [https://supreme.justia.com/cases/federal/us/355/371/ ''One Inc. v. Oleson''] came in front of the court. Obscenities are not protected by the first amendment<ref> The United States Department of Justice, Obscenity[https://www.justice.gov/criminal-ceos/obscenity#:~:text=Obscenity%20is%20not%20protected%20under,if%20given%20material%20is%20obscene. ]</ref>, and in [https://supreme.justia.com/cases/federal/us/355/371/ ''One Inc v. Oleson''], we saw people arguing that speech in favor of queer people is not obscene, and thus a protected speech. While this may seem small, it affirmed the existence and importance of queer speech, and built the foundations for what we know queer speech and rhetoric to be today. If the court had ruled the opposite way, we may not be sitting here today, and this Wiki may not exist. This case also draws upon the reader to question the powers of the Supreme Court and the judicial system in general. It is a very unique idea that 9 people have the ability to decide who is allowed to speak and what they are allowed to say. https://supreme.justia.com/cases/federal/us/355/371/ In the end, these cases show the progression and regression of queer discrimination rights over time, and how the court is consistently reevaluating and deciding what rights people get. Like aforementioned, this section encourages us to think about the powers at be, and pose the question, should anyone be allowed to determine who deserves rights and who doesn’t? == References == <references/> 7723494acf1de45d1430c0e2c94384db00d5bfda 199 198 2022-09-18T22:25:19Z Catherinecunningham 8 /* Queer Discrimination */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman <ref>Defense of Marriage Act, Cornell University School of Law[https://www.law.cornell.edu/wex/defense_of_marriage_act_(doma)]</ref> . The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Criminalization == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine Albert “Rico” Hernandez. Rico passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. I would also to say a special thanks to Ricos partner, Roy Hudgens, for his gracious gift of sharing his direct experience with being an openly gay man during the height of the AIDs epidemic. It is incredibly important to remember the trauma and oppression experienced by the queer community, and having the honor to share parts of his story through this archive is one I do not take lightly. HIV/AIDs activism is a part of queer history that we often do not talk about. This part of the past is fraught with oppression, marginalization, and trauma. Queer individuals had virtually no rights. In queering the judicial history of HIV/AIDs criminalization, it's important to discuss the effects it's had on individuals at a personal level. Throughout this section I will be interweaving personal testimony from a member of the queer community who was HIV positive during the height of the AIDs epidemic. In 1988 the [https://www.hivlawandpolicy.org/resources/chalk-v-us-district-court-central-district-california-840-f2d-701-9th-cir-1988 U.S. District Court Central District of California] ruled on one of the first AIDs cases. The case involved a public school teacher who was AIDs positive. The school district demanded that Mr. Chalk work in an administrative role despite the fact that epidemiologists said Mr. Chalk was cleared to work in the classroom. Mr. Chalk sued his school district and the court ruled in his favor. The hallmark of HIV/AIDs judicial cases is [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott'']. Ms. Abbott was HIV positive and needed a tooth pulled. Dr. Bragdon refused to serve her on account of her diagnosis, and Ms. Abbott sued his dentist office. The court ruled in favor of Bragdon, saying that the ADA does not force individual healthcare practices to serve people who have “contagious diseases”. This case furthered the stigmatization of AIDs and HIV, and stripped those who were HIV positive from their right to healthcare. This had personal implications on every HIV positive individual. Sharing one their most traumatic experiences, an anonymous HIV positive individual from the 1980s told me a near identical story as the one in [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott'']. They needed a tooth pulled for a wedding and had to go through fourteen different dentists until they found a dentist who was willing to serve them. When they went to the only dentist in the area that would serve them, the dentist office had cleared out the whole practice and all of the hygienists were in full hazmats suits. You can imagine the trauma and feelings of isolation that stemmed from this event and other similar events experienced by this individual. Furthermore, their experiences of stigmatization and isolation surrounding not only their status as HIV positive but also their queerness led them down a path of alcoholism and drug abuse. There is a high rate of queer individuals from the height of the AIDs epidemic who experienced addiction and alcohol/drug abuse because of the trauma from the AIDs epidemic<ref> HHS Stigma and Family Relationships of Middle-Aged Gay Men in Recovery[https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4833399/]</ref>. [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott''] directly impacted this by making the stigmatization even more salient and completely legal. In a recent case that was dismissed before being argued in front of the court [https://www.law.cornell.edu/supct/cert/20-1374 ''CVS Inc. v. Doe'' (2021)], anonymous individuals who receive medication for HIV/AIDs through the CVS care program sued CVS for discriminating. These anonymous individuals were unable to order their medication elsewhere without it costing thousands of dollars, and were forced to either have the medication delivered to their house or picked up in-store. The case was dismissed, but if it hadn’t been, there could have been serious implications as to whether or not individuals with HIV/AIDs could afford and access their necessary medications. This case also shows that the court is willing to revisit some of the issues established in former HIV/AIDs [https://www.aclu-mn.org/en/cases/state-minnesota-v-rick ''Minnesota v. Rick''], a case ruled in 2013 was a huge victory for HIV positive individuals. Rick, an HIV positive individual, engaged in consensual sex with a partner after disclosing his HIV status. The state of Minnesota prosecuted him based on a law that says individuals with HIV can not engage in sexual relationships even if they have disclosed their HIV status. Clearly criminalizing sex should be looked down upon, and any archaic law that criminalizes peoples consensual sexual practices should be overturned. In this case, the court did overturn and ruled that since Rick had disclosed his status and the relationship was consensual, there was no law broken. This was a huge step in the recognition of arbitrary and stigmatized laws that disallowed HIV/AIDs positive individuals basic human rights. Clearly, HIV/AIDs criminalization is an ongoing discussion. There is still intense stigma surrounding HIV/AIDs positive individuals, and severe homophobia surrounding this aspect of queer relationships. HIV/AIDs can be contracted by anyone, but the nature of its epidemic in the 1980s was based around a general homophobic view of the entire nation. == Queer Sex Discrimination Through Anti-Sodomy Laws == It is important to recognize before we begin this heading, that anal intercourse and "sodomy"<ref> Cornell University School of Law, Legal Definition of "Sodomizing"[https://www.law.cornell.edu/wex/sodomy#:~:text=As%20explained%20in%20this%20case,mainly%20consisted%20of%20anal%20sex]</ref> are not exclusive practices to the queer community. In fact 36% of women and 44% of men have engaged in heterosexual anal intercourse in their lifetimes <ref> HHS, "Prevalence and Correlates of Heterosexual Anal Intercourse among Men and Women, 20 U.S. Cities" [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4949144/]</ref>. Since anal intercourse is so prominent among straight couples, it may seem arbitrary to include anti-sodomy laws in this Wiki. However, anti-sodomy laws have historically been used as a way to intimidate and oppress queer couples and further stigmatize the idea of queer relationships in the public<ref> Shifting the Scene of the Crime: Sodomy and the American History of Sexual Violence[https://muse-jhu-edu.ezproxy.tcu.edu/article/380333]</ref>. These cases hold weight when we discuss queer activism through judicial decisions. In 1986 the court upheld a Georgia law outlawing sodomy. In [https://www.oyez.org/cases/1985/85-140 ''Bowers v. Hardwick''], Michael Hardwick was observed by a police officer engaging in consensual anal intercourse with a male partner. Hardwick challenged the laws constitutionality in the Supreme Court. The Supreme Court ruled in favor of the state of Georgia. Obviously this was a devastating blow to every sexually active individual in the state of Georgia. As previously mentioned, we know many heterosexual couples engage in anal intercourse. But this ruling was particularly directed at the queer community. Sodomy laws have been used consistently as a way to threaten and intimidate the queer community. By making a certain kind of intercourse illegal, a kind of intercourse that is frequently exchanged between members of the queer community, the state of Georgia, and country as a whole, was criminalizing being queer. They were making a statement, if you are not upholding our heteronormative practices and what we deem to be “normal”, then you are not welcome here, and you have no rights here. But what is “normal” anyway? Queer judicial activism and queer rhetoric in general seeks to uproot our traditional ideas of “normal”, and sodomy/sex discrimination is one homophobic people continue to fight for an arbitrary “normal” and “abnormal” binary. In 2003 the court overturned [https://www.oyez.org/cases/1985/85-140 ''Bowers v. Hardwick''] in the hallmark case [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas'']. The court ruled that criminalizing sexual intercourse between any individuals violates the right to Due Process as established by the 14th amendment. This was a time in the courts history when it reaffirmed the rights of queer individuals, and all who engage in consensual anal intercourse. They made a statement by saying all intercourse is intercourse, and there is no “normal” intercourse. We should all be able to do what we want. [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas''] is still the court precedent when it comes to laws that criminalize sodomy, but there have been rumblings that the court may seek to overturn soon. It is imperative that we keep the precedent as established in [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas''] in order to continue the advancement of human rights in this country and further, destigmatize and decriminalize queer love. == Queer Discrimination == Through the years the Supreme Court has consistently worked to suppress the rights of queer individuals and promote heteronormative values. Discrimination against the queer community spans across all avenues of life. These cases show that over and over again the court has ruled that discrimination against the queer community is allowed in many spaces. By discussing these cases we can see the evolutions and stabilities of queer discrimination through the courts. Starting with [https://www.oyez.org/cases/1999/99-699 ''The Boy Scouts of America v. Dale''], ruled in 1966. Dale was a boy scout, in fact, a boy scout with high honors. When Dale went to Rutgers University, he came out as gay and spoke publicly about how important it is that young gay men have good role models through the Boy Scouts. The Boy Scouts stripped Dale of all of his high honors, because in their code of conduct they do not allow members of the organization to be publicly gay<ref>ACLU, U.S. Supreme Court Ruling that Boy Scouts can Discriminate is 'Damaging but Limited'[https://www.aclu.org/press-releases/us-supreme-court-ruling-boy-scouts-can-discriminate-damaging-limited-aclu-says]</ref>. Dale sued saying that the Boy Scouts of America had violated the New Jersey Statute that prohibited discrimination on the basis of sexuality<ref> NJ Office of the Attorney General, 5 Things You Should Know about the New Jersey Law Against Discrimination[https://www.nj.gov/lps/dcr/downloads/fact_LAD.pdf]</ref>. The Supreme Court ruled that since the Boy Scouts of America are a private organization, their rules and code of conduct stand, and they did not violate the discrimination statute. The Supreme Court made a clear choice to continue the discrimination against queer individuals, and find that private corporation documents supersede laws established and created by legislators. This was clearly an action by the court in order to continue to squash the rights of queer individuals and uphold heteronormative standards of practice. 30 years after [https://www.oyez.org/cases/1999/99-699 ''Boy Scouts of America v. Dale''], the court made a choice that helped protect queer individuals from discrimination. In [https://www.oyez.org/cases/1995/94-1039 ''Romer v. Evans''], the court evaluated an amendment to the Colorado constitution that said there would be no action taken by any branch of the government if a queer individual was discriminated against<ref> Colorado Encyclopedia, Amendment 2[https://coloradoencyclopedia.org/article/amendment-2]</ref>. The Supreme Court held that this was a violation of the due process clause, and that queer individuals should not be discriminated against, and the state of Colorado should hold those who partake in discriminatory actions against queer persons accountable. [https://www.oyez.org/cases/1995/94-1039 ''Romer''] affirmed the idea that queer individuals deserve equal rights, and showed that queer persons can not be discriminated against. Earlier than both of these cases, the court ordered that speech in favor of queer individuals is protected by the first amendment and not obscene. In 1958, [https://supreme.justia.com/cases/federal/us/355/371/ ''One Inc. v. Oleson''] came in front of the court. Obscenities are not protected by the first amendment<ref> The United States Department of Justice, Obscenity[https://www.justice.gov/criminal-ceos/obscenity#:~:text=Obscenity%20is%20not%20protected%20under,if%20given%20material%20is%20obscene]</ref>, and in [https://supreme.justia.com/cases/federal/us/355/371/ ''One Inc v. Oleson''], we saw people arguing that speech in favor of queer people is not obscene, and thus a protected speech. While this may seem small, it affirmed the existence and importance of queer speech, and built the foundations for what we know queer speech and rhetoric to be today. If the court had ruled the opposite way, we may not be sitting here today, and this Wiki may not exist. This case also draws upon the reader to question the powers of the Supreme Court and the judicial system in general. It is a very unique idea that 9 people have the ability to decide who is allowed to speak and what they are allowed to say. In the end, these cases show the progression and regression of queer discrimination rights over time, and how the court is consistently reevaluating and deciding what rights people get. Like aforementioned, this section encourages us to think about the powers at be, and pose the question, should anyone be allowed to determine who deserves rights and who doesn’t? == References == <references/> 4678da481f75766c856385f1eaeb652a0db1e1d8 200 199 2022-09-18T22:26:13Z Catherinecunningham 8 /* HIV/AIDS Criminalization */ wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman <ref>Defense of Marriage Act, Cornell University School of Law[https://www.law.cornell.edu/wex/defense_of_marriage_act_(doma)]</ref> . The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Criminalization == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine Albert “Ricco” Hernandez. Ricco passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. I would also to say a special thanks to Ricco's partner, Roy Hudgens, for his gracious gift of sharing his direct experience with being an openly gay man during the height of the AIDs epidemic. It is incredibly important to remember the trauma and oppression experienced by the queer community, and having the honor to share parts of his story through this archive is one I do not take lightly. HIV/AIDs activism is a part of queer history that we often do not talk about. This part of the past is fraught with oppression, marginalization, and trauma. Queer individuals had virtually no rights. In queering the judicial history of HIV/AIDs criminalization, it's important to discuss the effects it's had on individuals at a personal level. Throughout this section I will be interweaving personal testimony from a member of the queer community who was HIV positive during the height of the AIDs epidemic. In 1988 the [https://www.hivlawandpolicy.org/resources/chalk-v-us-district-court-central-district-california-840-f2d-701-9th-cir-1988 U.S. District Court Central District of California] ruled on one of the first AIDs cases. The case involved a public school teacher who was AIDs positive. The school district demanded that Mr. Chalk work in an administrative role despite the fact that epidemiologists said Mr. Chalk was cleared to work in the classroom. Mr. Chalk sued his school district and the court ruled in his favor. The hallmark of HIV/AIDs judicial cases is [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott'']. Ms. Abbott was HIV positive and needed a tooth pulled. Dr. Bragdon refused to serve her on account of her diagnosis, and Ms. Abbott sued his dentist office. The court ruled in favor of Bragdon, saying that the ADA does not force individual healthcare practices to serve people who have “contagious diseases”. This case furthered the stigmatization of AIDs and HIV, and stripped those who were HIV positive from their right to healthcare. This had personal implications on every HIV positive individual. Sharing one their most traumatic experiences, an anonymous HIV positive individual from the 1980s told me a near identical story as the one in [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott'']. They needed a tooth pulled for a wedding and had to go through fourteen different dentists until they found a dentist who was willing to serve them. When they went to the only dentist in the area that would serve them, the dentist office had cleared out the whole practice and all of the hygienists were in full hazmats suits. You can imagine the trauma and feelings of isolation that stemmed from this event and other similar events experienced by this individual. Furthermore, their experiences of stigmatization and isolation surrounding not only their status as HIV positive but also their queerness led them down a path of alcoholism and drug abuse. There is a high rate of queer individuals from the height of the AIDs epidemic who experienced addiction and alcohol/drug abuse because of the trauma from the AIDs epidemic<ref> HHS Stigma and Family Relationships of Middle-Aged Gay Men in Recovery[https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4833399/]</ref>. [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott''] directly impacted this by making the stigmatization even more salient and completely legal. In a recent case that was dismissed before being argued in front of the court [https://www.law.cornell.edu/supct/cert/20-1374 ''CVS Inc. v. Doe'' (2021)], anonymous individuals who receive medication for HIV/AIDs through the CVS care program sued CVS for discriminating. These anonymous individuals were unable to order their medication elsewhere without it costing thousands of dollars, and were forced to either have the medication delivered to their house or picked up in-store. The case was dismissed, but if it hadn’t been, there could have been serious implications as to whether or not individuals with HIV/AIDs could afford and access their necessary medications. This case also shows that the court is willing to revisit some of the issues established in former HIV/AIDs [https://www.aclu-mn.org/en/cases/state-minnesota-v-rick ''Minnesota v. Rick''], a case ruled in 2013 was a huge victory for HIV positive individuals. Rick, an HIV positive individual, engaged in consensual sex with a partner after disclosing his HIV status. The state of Minnesota prosecuted him based on a law that says individuals with HIV can not engage in sexual relationships even if they have disclosed their HIV status. Clearly criminalizing sex should be looked down upon, and any archaic law that criminalizes peoples consensual sexual practices should be overturned. In this case, the court did overturn and ruled that since Rick had disclosed his status and the relationship was consensual, there was no law broken. This was a huge step in the recognition of arbitrary and stigmatized laws that disallowed HIV/AIDs positive individuals basic human rights. Clearly, HIV/AIDs criminalization is an ongoing discussion. There is still intense stigma surrounding HIV/AIDs positive individuals, and severe homophobia surrounding this aspect of queer relationships. HIV/AIDs can be contracted by anyone, but the nature of its epidemic in the 1980s was based around a general homophobic view of the entire nation. == Queer Sex Discrimination Through Anti-Sodomy Laws == It is important to recognize before we begin this heading, that anal intercourse and "sodomy"<ref> Cornell University School of Law, Legal Definition of "Sodomizing"[https://www.law.cornell.edu/wex/sodomy#:~:text=As%20explained%20in%20this%20case,mainly%20consisted%20of%20anal%20sex]</ref> are not exclusive practices to the queer community. In fact 36% of women and 44% of men have engaged in heterosexual anal intercourse in their lifetimes <ref> HHS, "Prevalence and Correlates of Heterosexual Anal Intercourse among Men and Women, 20 U.S. Cities" [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4949144/]</ref>. Since anal intercourse is so prominent among straight couples, it may seem arbitrary to include anti-sodomy laws in this Wiki. However, anti-sodomy laws have historically been used as a way to intimidate and oppress queer couples and further stigmatize the idea of queer relationships in the public<ref> Shifting the Scene of the Crime: Sodomy and the American History of Sexual Violence[https://muse-jhu-edu.ezproxy.tcu.edu/article/380333]</ref>. These cases hold weight when we discuss queer activism through judicial decisions. In 1986 the court upheld a Georgia law outlawing sodomy. In [https://www.oyez.org/cases/1985/85-140 ''Bowers v. Hardwick''], Michael Hardwick was observed by a police officer engaging in consensual anal intercourse with a male partner. Hardwick challenged the laws constitutionality in the Supreme Court. The Supreme Court ruled in favor of the state of Georgia. Obviously this was a devastating blow to every sexually active individual in the state of Georgia. As previously mentioned, we know many heterosexual couples engage in anal intercourse. But this ruling was particularly directed at the queer community. Sodomy laws have been used consistently as a way to threaten and intimidate the queer community. By making a certain kind of intercourse illegal, a kind of intercourse that is frequently exchanged between members of the queer community, the state of Georgia, and country as a whole, was criminalizing being queer. They were making a statement, if you are not upholding our heteronormative practices and what we deem to be “normal”, then you are not welcome here, and you have no rights here. But what is “normal” anyway? Queer judicial activism and queer rhetoric in general seeks to uproot our traditional ideas of “normal”, and sodomy/sex discrimination is one homophobic people continue to fight for an arbitrary “normal” and “abnormal” binary. In 2003 the court overturned [https://www.oyez.org/cases/1985/85-140 ''Bowers v. Hardwick''] in the hallmark case [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas'']. The court ruled that criminalizing sexual intercourse between any individuals violates the right to Due Process as established by the 14th amendment. This was a time in the courts history when it reaffirmed the rights of queer individuals, and all who engage in consensual anal intercourse. They made a statement by saying all intercourse is intercourse, and there is no “normal” intercourse. We should all be able to do what we want. [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas''] is still the court precedent when it comes to laws that criminalize sodomy, but there have been rumblings that the court may seek to overturn soon. It is imperative that we keep the precedent as established in [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas''] in order to continue the advancement of human rights in this country and further, destigmatize and decriminalize queer love. == Queer Discrimination == Through the years the Supreme Court has consistently worked to suppress the rights of queer individuals and promote heteronormative values. Discrimination against the queer community spans across all avenues of life. These cases show that over and over again the court has ruled that discrimination against the queer community is allowed in many spaces. By discussing these cases we can see the evolutions and stabilities of queer discrimination through the courts. Starting with [https://www.oyez.org/cases/1999/99-699 ''The Boy Scouts of America v. Dale''], ruled in 1966. Dale was a boy scout, in fact, a boy scout with high honors. When Dale went to Rutgers University, he came out as gay and spoke publicly about how important it is that young gay men have good role models through the Boy Scouts. The Boy Scouts stripped Dale of all of his high honors, because in their code of conduct they do not allow members of the organization to be publicly gay<ref>ACLU, U.S. Supreme Court Ruling that Boy Scouts can Discriminate is 'Damaging but Limited'[https://www.aclu.org/press-releases/us-supreme-court-ruling-boy-scouts-can-discriminate-damaging-limited-aclu-says]</ref>. Dale sued saying that the Boy Scouts of America had violated the New Jersey Statute that prohibited discrimination on the basis of sexuality<ref> NJ Office of the Attorney General, 5 Things You Should Know about the New Jersey Law Against Discrimination[https://www.nj.gov/lps/dcr/downloads/fact_LAD.pdf]</ref>. The Supreme Court ruled that since the Boy Scouts of America are a private organization, their rules and code of conduct stand, and they did not violate the discrimination statute. The Supreme Court made a clear choice to continue the discrimination against queer individuals, and find that private corporation documents supersede laws established and created by legislators. This was clearly an action by the court in order to continue to squash the rights of queer individuals and uphold heteronormative standards of practice. 30 years after [https://www.oyez.org/cases/1999/99-699 ''Boy Scouts of America v. Dale''], the court made a choice that helped protect queer individuals from discrimination. In [https://www.oyez.org/cases/1995/94-1039 ''Romer v. Evans''], the court evaluated an amendment to the Colorado constitution that said there would be no action taken by any branch of the government if a queer individual was discriminated against<ref> Colorado Encyclopedia, Amendment 2[https://coloradoencyclopedia.org/article/amendment-2]</ref>. The Supreme Court held that this was a violation of the due process clause, and that queer individuals should not be discriminated against, and the state of Colorado should hold those who partake in discriminatory actions against queer persons accountable. [https://www.oyez.org/cases/1995/94-1039 ''Romer''] affirmed the idea that queer individuals deserve equal rights, and showed that queer persons can not be discriminated against. Earlier than both of these cases, the court ordered that speech in favor of queer individuals is protected by the first amendment and not obscene. In 1958, [https://supreme.justia.com/cases/federal/us/355/371/ ''One Inc. v. Oleson''] came in front of the court. Obscenities are not protected by the first amendment<ref> The United States Department of Justice, Obscenity[https://www.justice.gov/criminal-ceos/obscenity#:~:text=Obscenity%20is%20not%20protected%20under,if%20given%20material%20is%20obscene]</ref>, and in [https://supreme.justia.com/cases/federal/us/355/371/ ''One Inc v. Oleson''], we saw people arguing that speech in favor of queer people is not obscene, and thus a protected speech. While this may seem small, it affirmed the existence and importance of queer speech, and built the foundations for what we know queer speech and rhetoric to be today. If the court had ruled the opposite way, we may not be sitting here today, and this Wiki may not exist. This case also draws upon the reader to question the powers of the Supreme Court and the judicial system in general. It is a very unique idea that 9 people have the ability to decide who is allowed to speak and what they are allowed to say. In the end, these cases show the progression and regression of queer discrimination rights over time, and how the court is consistently reevaluating and deciding what rights people get. Like aforementioned, this section encourages us to think about the powers at be, and pose the question, should anyone be allowed to determine who deserves rights and who doesn’t? == References == <references/> 04b53b8aa080cb94a82c3a1ecc0762bfb6eda1be 207 200 2022-09-19T19:42:42Z Catherinecunningham 8 wikitext text/x-wiki Judicial views have been consistently changing when discussing queer rights and conversations. Recently we have seen an abrupt shift in the views of the supreme court, and there has been fear that queer rights will be taking a back seat, and may even regress under such a conservative court. This page is made in an effort to archive the progressions and regressions that both the Supreme Court and the lower courts have held over time in regards to specific aspects of queer rights. This archive is made in hope to show the mistakes and successes the court has had in regards to queer rights across the board. In order to really understand the issues discussed, there are a few definitions we need to outline. First is judicial activism. There are several ways in which judges decide on cases, and one of which is through an activist lens. This essentially means that a judge may overlook precedent or law in order to rule in favor of an individual's rights<ref> Thought Co., “What is Judicial Activism”[https://www.thoughtco.com/judicial-activism-definition-examples-4172436]</ref>. The flip side of judicial activism is when judges overlook precedents or law in order to rule against an individual's rights. We see both of these ways of judicial reasoning in the cases below. Another important definition we should discuss is Queer Activism in general. Throughout the [[Queer Rhetorics|“Queer Rhetorics” wiki]] there are a myriad of examples of queer activism. In this specifically, I talk about some of the progressive and regressive decisions of the court. In order to define queer activism, I would like to use an individual example. In the late 1980s Ricco Hernandez was diagnosed with HIV/AIDs (I will talk about his specific battle later on). His partner, Roy Hudgens, was not recognized by the hospital as an official guest and therefore not allowed to visit Ricco post-surgery when visiting hours were over. The reason he was not recognized as a guest was because gay marriage and partnerships were not affirmed and viewed as valid in the eyes of the government. In an act of defiance and activism, following his surgery, Ricco got up and wheeled his IV drip to the lobby to see Roy. Despite the world not recognizing their relationship, Ricco and Roy fought on. Their mere existence as a couple was an act of defiance. This is queer activism. It is fighting for the same rights that heterosexual couples have. It is merely existing in a heteronormative world that doesn’t want to accept your existence. Throughout this wiki we will discuss ways in which the Supreme Court and other lower courts have affirmed or denied the rights of the queer community, and it is important to keep these definitions in mind. == Queer Marriage == Queer marriage and the meaning of marriage has been a prominent discussion in the courts through the years. We all obviously know [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']that legalized gay marriage, but this header was made in effort to show how we ultimately reached such a decision. In 1972, the court considered its first marriage equality case, [https://law.justia.com/cases/minnesota/supreme-court/1971/43009-1.html ''Barker v. Nelson'']. Barker and Nelson were a young gay couple who attempted to acquire a marriage license in Minnesota. The Supreme Court considered it for a moment, but ultimately made the determination that this question was not one of a federal level and did not rule on it. The two obtained a marriage license by feminizing one of the names and were ultimately married. In 2018, a judge validated the marriage officially. In 2013, the Court took its first major steps into legitimizing queer marriage in [https://supreme.justia.com/cases/federal/us/570/744/#tab-opinion-1970766 ''United States v. Windsor'']. Two women who had been married in Canada, moved to New York (New York at the time recognized queer marriage). When one of the women passed away, her wife attempted to claim a tax exemption given to widowed spouses. The exemption was blocked by the DOMA, the Defense of Marriage Act. The DOMA stated that legal marriage was an act between a man and woman <ref>Defense of Marriage Act, Cornell University School of Law[https://www.law.cornell.edu/wex/defense_of_marriage_act_(doma)]</ref> . The court ultimately ruled that the DOMA was unconstitutional and held that the United States should refund the surviving widow. By removing the DOMA, the court took its first steps in legitimizing queer marriage in the United States. That leads us to the final case, the one known around the world, [https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255 ''Obergefell v. Hodges'']. In 2015, the Supreme Court finally legitimized queer marriage. The court held that the 14th amendment prohibits the discrimination of same-sex couples through marriage and officially legalized queer marriage in all 50 states. This landmark case is consistently discussed when we talk about queer rights in regards to the supreme court. Not only did the supreme court legalize the marriage of same-sex couples, they gave same-sex couples all the same rights as straight couples, including tax exemptions, legal unions, and others. This was a huge win for the queer community as the Supreme Court officially recognized them as equal to straight couples. Marriage itself is often seen as an archaic and arbitrary institution, created to further heteronormative cultural production and downplay the rights of queer individuals and women. <ref> Perceptions of Same-Sex Relationships and Marriage as Gender Role Violations: An Examination of Gendered Expectations (Sexism)[https://doi-org.ezproxy.tcu.edu/10.1080/00918369.2015.1073038]</ref> That being said, the fight for marriage equality is one that can not be neglected when discussing queer activism through judicial decisions, as many of the cases above legitimized queer relationships in the eyes of the law <ref> ''Obergefell v. Hodges''[https://supreme.justia.com/cases/federal/us/576/14-556/#tab-opinion-3427255]</ref> . While marriage itself could be viewed as a problematic institution, it was used a tool to get the court to legitimize queer relationships. These cases hold weight in queer activism, no matter our views on marriage itself. == HIV/AIDS Criminalization == Before I begin my discussion about HIV/AIDS judicial activism I would like to talk about the humans who were affected by the epidemic, specifically a personal hero of mine Albert “Ricco” Hernandez. Ricco passed away from AIDs in 1994 and fought for queer rights until his final day. This section is dedicated to him and his work, and all of those who have suffered from or been affected by HIV/AIDS. I would also to say a special thanks to Ricco's partner, Roy Hudgens, for his gracious gift of sharing his direct experience with being an openly gay man during the height of the AIDs epidemic. It is incredibly important to remember the trauma and oppression experienced by the queer community, and having the honor to share parts of his story through this archive is one I do not take lightly. HIV/AIDs activism is a part of queer history that we often do not talk about. This part of the past is fraught with oppression, marginalization, and trauma. Queer individuals had virtually no rights. In queering the judicial history of HIV/AIDs criminalization, it's important to discuss the effects it's had on individuals at a personal level. Throughout this section I will be interweaving personal testimony from a member of the queer community who was HIV positive during the height of the AIDs epidemic. In 1988 the [https://www.hivlawandpolicy.org/resources/chalk-v-us-district-court-central-district-california-840-f2d-701-9th-cir-1988 U.S. District Court Central District of California] ruled on one of the first AIDs cases. The case involved a public school teacher who was AIDs positive. The school district demanded that Mr. Chalk work in an administrative role despite the fact that epidemiologists said Mr. Chalk was cleared to work in the classroom. Mr. Chalk sued his school district and the court ruled in his favor. The hallmark of HIV/AIDs judicial cases is [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott'']. Ms. Abbott was HIV positive and needed a tooth pulled. Dr. Bragdon refused to serve her on account of her diagnosis, and Ms. Abbott sued his dentist office. The court ruled in favor of Bragdon, saying that the ADA does not force individual healthcare practices to serve people who have “contagious diseases”. This case furthered the stigmatization of AIDs and HIV, and stripped those who were HIV positive from their right to healthcare. This had personal implications on every HIV positive individual. Sharing one their most traumatic experiences, an anonymous HIV positive individual from the 1980s told me a near identical story as the one in [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott'']. They needed a tooth pulled for a wedding and had to go through fourteen different dentists until they found a dentist who was willing to serve them. When they went to the only dentist in the area that would serve them, the dentist office had cleared out the whole practice and all of the hygienists were in full hazmats suits. You can imagine the trauma and feelings of isolation that stemmed from this event and other similar events experienced by this individual. Furthermore, their experiences of stigmatization and isolation surrounding not only their status as HIV positive but also their queerness led them down a path of alcoholism and drug abuse. There is a high rate of queer individuals from the height of the AIDs epidemic who experienced addiction and alcohol/drug abuse because of the trauma from the AIDs epidemic<ref> HHS Stigma and Family Relationships of Middle-Aged Gay Men in Recovery[https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4833399/]</ref>. [https://www.oyez.org/cases/1997/97-156 ''Bragdon v. Abbott''] directly impacted this by making the stigmatization even more salient and completely legal. In a recent case that was dismissed before being argued in front of the court [https://www.law.cornell.edu/supct/cert/20-1374 ''CVS Inc. v. Doe'' (2021)], anonymous individuals who receive medication for HIV/AIDs through the CVS care program sued CVS for discriminating. These anonymous individuals were unable to order their medication elsewhere without it costing thousands of dollars, and were forced to either have the medication delivered to their house or picked up in-store. The case was dismissed, but if it hadn’t been, there could have been serious implications as to whether or not individuals with HIV/AIDs could afford and access their necessary medications. This case also shows that the court is willing to revisit some of the issues established in former HIV/AIDs [https://www.aclu-mn.org/en/cases/state-minnesota-v-rick ''Minnesota v. Rick''], a case ruled in 2013 was a huge victory for HIV positive individuals. Rick, an HIV positive individual, engaged in consensual sex with a partner after disclosing his HIV status. The state of Minnesota prosecuted him based on a law that says individuals with HIV can not engage in sexual relationships even if they have disclosed their HIV status. Clearly criminalizing sex should be looked down upon, and any archaic law that criminalizes peoples consensual sexual practices should be overturned. In this case, the court did overturn and ruled that since Rick had disclosed his status and the relationship was consensual, there was no law broken. This was a huge step in the recognition of arbitrary and stigmatized laws that disallowed HIV/AIDs positive individuals basic human rights. Clearly, HIV/AIDs criminalization is an ongoing discussion. There is still intense stigma surrounding HIV/AIDs positive individuals, and severe homophobia surrounding this aspect of queer relationships. HIV/AIDs can be contracted by anyone, but the nature of its epidemic in the 1980s was based around a general homophobic view of the entire nation. == Queer Sex Discrimination Through Anti-Sodomy Laws == It is important to recognize before we begin this heading, that anal intercourse and "sodomy"<ref> Cornell University School of Law, Legal Definition of "Sodomizing"[https://www.law.cornell.edu/wex/sodomy#:~:text=As%20explained%20in%20this%20case,mainly%20consisted%20of%20anal%20sex]</ref> are not exclusive practices to the queer community. In fact 36% of women and 44% of men have engaged in heterosexual anal intercourse in their lifetimes <ref> HHS, "Prevalence and Correlates of Heterosexual Anal Intercourse among Men and Women, 20 U.S. Cities" [https://www.ncbi.nlm.nih.gov/pmc/articles/PMC4949144/]</ref>. Since anal intercourse is so prominent among straight couples, it may seem arbitrary to include anti-sodomy laws in this Wiki. However, anti-sodomy laws have historically been used as a way to intimidate and oppress queer couples and further stigmatize the idea of queer relationships in the public<ref> Shifting the Scene of the Crime: Sodomy and the American History of Sexual Violence[https://muse-jhu-edu.ezproxy.tcu.edu/article/380333]</ref>. These cases hold weight when we discuss queer activism through judicial decisions. In 1986 the court upheld a Georgia law outlawing sodomy. In [https://www.oyez.org/cases/1985/85-140 ''Bowers v. Hardwick''], Michael Hardwick was observed by a police officer engaging in consensual anal intercourse with a male partner. Hardwick challenged the laws constitutionality in the Supreme Court. The Supreme Court ruled in favor of the state of Georgia. Obviously this was a devastating blow to every sexually active individual in the state of Georgia. As previously mentioned, we know many heterosexual couples engage in anal intercourse. But this ruling was particularly directed at the queer community. Sodomy laws have been used consistently as a way to threaten and intimidate the queer community. By making a certain kind of intercourse illegal, a kind of intercourse that is frequently exchanged between members of the queer community, the state of Georgia, and country as a whole, was criminalizing being queer. They were making a statement, if you are not upholding our heteronormative practices and what we deem to be “normal”, then you are not welcome here, and you have no rights here. But what is “normal” anyway? Queer judicial activism and queer rhetoric in general seeks to uproot our traditional ideas of “normal”, and sodomy/sex discrimination is one homophobic people continue to fight for an arbitrary “normal” and “abnormal” binary. In 2003 the court overturned [https://www.oyez.org/cases/1985/85-140 ''Bowers v. Hardwick''] in the hallmark case [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas'']. The court ruled that criminalizing sexual intercourse between any individuals violates the right to Due Process as established by the 14th amendment. This was a time in the courts history when it reaffirmed the rights of queer individuals, and all who engage in consensual anal intercourse. They made a statement by saying all intercourse is intercourse, and there is no “normal” intercourse. We should all be able to do what we want. [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas''] is still the court precedent when it comes to laws that criminalize sodomy, but there have been rumblings that the court may seek to overturn soon. It is imperative that we keep the precedent as established in [https://www.oyez.org/cases/2002/02-102 ''Lawrence v. Texas''] in order to continue the advancement of human rights in this country and further, destigmatize and decriminalize queer love. == Queer Discrimination == Through the years the Supreme Court has consistently worked to suppress the rights of queer individuals and promote heteronormative values. Discrimination against the queer community spans across all avenues of life. These cases show that over and over again the court has ruled that discrimination against the queer community is allowed in many spaces. By discussing these cases we can see the evolutions and stabilities of queer discrimination through the courts. Starting with [https://www.oyez.org/cases/1999/99-699 ''The Boy Scouts of America v. Dale''], ruled in 1966. Dale was a boy scout, in fact, a boy scout with high honors. When Dale went to Rutgers University, he came out as gay and spoke publicly about how important it is that young gay men have good role models through the Boy Scouts. The Boy Scouts stripped Dale of all of his high honors, because in their code of conduct they do not allow members of the organization to be publicly gay<ref>ACLU, U.S. Supreme Court Ruling that Boy Scouts can Discriminate is 'Damaging but Limited'[https://www.aclu.org/press-releases/us-supreme-court-ruling-boy-scouts-can-discriminate-damaging-limited-aclu-says]</ref>. Dale sued saying that the Boy Scouts of America had violated the New Jersey Statute that prohibited discrimination on the basis of sexuality<ref> NJ Office of the Attorney General, 5 Things You Should Know about the New Jersey Law Against Discrimination[https://www.nj.gov/lps/dcr/downloads/fact_LAD.pdf]</ref>. The Supreme Court ruled that since the Boy Scouts of America are a private organization, their rules and code of conduct stand, and they did not violate the discrimination statute. The Supreme Court made a clear choice to continue the discrimination against queer individuals, and find that private corporation documents supersede laws established and created by legislators. This was clearly an action by the court in order to continue to squash the rights of queer individuals and uphold heteronormative standards of practice. 30 years after [https://www.oyez.org/cases/1999/99-699 ''Boy Scouts of America v. Dale''], the court made a choice that helped protect queer individuals from discrimination. In [https://www.oyez.org/cases/1995/94-1039 ''Romer v. Evans''], the court evaluated an amendment to the Colorado constitution that said there would be no action taken by any branch of the government if a queer individual was discriminated against<ref> Colorado Encyclopedia, Amendment 2[https://coloradoencyclopedia.org/article/amendment-2]</ref>. The Supreme Court held that this was a violation of the due process clause, and that queer individuals should not be discriminated against, and the state of Colorado should hold those who partake in discriminatory actions against queer persons accountable. [https://www.oyez.org/cases/1995/94-1039 ''Romer''] affirmed the idea that queer individuals deserve equal rights, and showed that queer persons can not be discriminated against. Earlier than both of these cases, the court ordered that speech in favor of queer individuals is protected by the first amendment and not obscene. In 1958, [https://supreme.justia.com/cases/federal/us/355/371/ ''One Inc. v. Oleson''] came in front of the court. Obscenities are not protected by the first amendment<ref> The United States Department of Justice, Obscenity[https://www.justice.gov/criminal-ceos/obscenity#:~:text=Obscenity%20is%20not%20protected%20under,if%20given%20material%20is%20obscene]</ref>, and in [https://supreme.justia.com/cases/federal/us/355/371/ ''One Inc v. Oleson''], we saw people arguing that speech in favor of queer people is not obscene, and thus a protected speech. While this may seem small, it affirmed the existence and importance of queer speech, and built the foundations for what we know queer speech and rhetoric to be today. If the court had ruled the opposite way, we may not be sitting here today, and this Wiki may not exist. This case also draws upon the reader to question the powers of the Supreme Court and the judicial system in general. It is a very unique idea that 9 people have the ability to decide who is allowed to speak and what they are allowed to say. In the end, these cases show the progression and regression of queer discrimination rights over time, and how the court is consistently reevaluating and deciding what rights people get. Like aforementioned, this section encourages us to think about the powers at be, and pose the question, should anyone be allowed to determine who deserves rights and who doesn’t? == References == <references/> ccdb1e32abfc7a685fef794ab5faa805abfaba99 2 30 201 2022-09-19T04:00:55Z Anaya.nichelle 23 Created page with "Anaya White == Special interests == == Major == == Hometown == == Family == == Early Life == == Favorite Books == == References == <references/>" wikitext text/x-wiki Anaya White == Special interests == == Major == == Hometown == == Family == == Early Life == == Favorite Books == == References == <references/> 57d4c226d09fd0b781e1926faca49151c0fa2485 0 31 203 2022-09-19T14:52:47Z Anelco 22 Created page with "AC In Central American countries, there is more hastily toward people who are queer or those who are on the spectrum of LGBTQ+. More than often, people are losing their lives over whom they love and how they dress. Celebrities like Bad bunny or his real name, Benito Antonio Martínez Ocasio, who is Puerto Rican, are actively fitting back and raising awareness of numerous topics. From feminicide to queer and trans people being murdered in his and other Latin countries. I..." wikitext text/x-wiki AC In Central American countries, there is more hastily toward people who are queer or those who are on the spectrum of LGBTQ+. More than often, people are losing their lives over whom they love and how they dress. Celebrities like Bad bunny or his real name, Benito Antonio Martínez Ocasio, who is Puerto Rican, are actively fitting back and raising awareness of numerous topics. From feminicide to queer and trans people being murdered in his and other Latin countries. In the book, "Translating the queer: Body Politics and Transnational Conversation", there is a usage of the words decolonizing and coloniality. Latin American people interact inside of coloniality. Meaning that there is still the idea that those who do not fit in with the white standards that the Spaniards upheld, are considered lesser. However, at the same, there is a movement for decolonization, "be understood as a result of abolishing forms of homophobia that are ingrained in the culture as a result of colonial patriarchal imposition." This means to get rid of the ways colonizers use to label and certain a group of people based on how they looked and other attributes. While there is still the idea of basing people in a higher rank in society based on their looks, it is not adding to sexuality. Queer and trans people are being targeted even more because of multiple oppressive things against them. a2f67bd800abd5280e8141020545ecf8b7482cea 212 203 2022-09-19T21:11:54Z Anelco 22 wikitext text/x-wiki ==== Heading text ==== AC In Central American countries, there is more hastily toward people who are queer or those who are on the spectrum of LGBTQ+. More than often, people are losing their lives over whom they love and how they dress. Celebrities like Bad bunny or his real name, Benito Antonio Martínez Ocasio, who is Puerto Rican, are actively fitting back and raising awareness of numerous topics. From feminicide to queer and trans people being murdered in his and other Latin countries. In the book, "Translating the queer: Body Politics and Transnational Conversation", there is a usage of the words decolonizing and coloniality. Latin American people interact inside of coloniality. Meaning that there is still the idea that those who do not fit in with the white standards that the Spaniards upheld, are considered lesser. However, at the same, there is a movement for decolonization, "be understood as a result of abolishing forms of homophobia that are ingrained in the culture as a result of colonial patriarchal imposition." This means to get rid of the ways colonizers use to label and certain a group of people based on how they looked and other attributes. While there is still the idea of basing people in a higher rank in society based on their looks, it is not adding to sexuality. Queer and trans people are being targeted even more because of multiple oppressive things against them. a2ded907dfd4c82bd0e362a41dfd48d0244d5b5e 3 32 204 2022-09-19T14:53:27Z Anelco 22 Created page with "AC 9.19.22 In Central American countries, there is more hastily toward people who are queer or those who are on the spectrum of LGBTQ+. More than often, people are losing their lives over whom they love and how they dress. Celebrities like Bad bunny or his real name, Benito Antonio Martínez Ocasio, who is Puerto Rican, are actively fitting back and raising awareness of numerous topics. From feminicide to queer and trans people being murdered in his and other Latin coun..." wikitext text/x-wiki AC 9.19.22 In Central American countries, there is more hastily toward people who are queer or those who are on the spectrum of LGBTQ+. More than often, people are losing their lives over whom they love and how they dress. Celebrities like Bad bunny or his real name, Benito Antonio Martínez Ocasio, who is Puerto Rican, are actively fitting back and raising awareness of numerous topics. From feminicide to queer and trans people being murdered in his and other Latin countries. In the book, "Translating the queer: Body Politics and Transnational Conversation", there is a usage of the words decolonizing and coloniality. Latin American people interact inside of coloniality. Meaning that there is still the idea that those who do not fit in with the white standards that the Spaniards upheld, are considered lesser. However, at the same, there is a movement for decolonization, "be understood as a result of abolishing forms of homophobia that are ingrained in the culture as a result of colonial patriarchal imposition." This means to get rid of the ways colonizers use to label and certain a group of people based on how they looked and other attributes. While there is still the idea of basing people in a higher rank in society based on their looks, it is not adding to sexuality. Queer and trans people are being targeted even more because of multiple oppressive things against them. 5097c194d9ccc6d47cc279e0d1414e9686d1fa3d 205 204 2022-09-19T14:53:47Z Anelco 22 /* testing */ new section wikitext text/x-wiki AC 9.19.22 In Central American countries, there is more hastily toward people who are queer or those who are on the spectrum of LGBTQ+. More than often, people are losing their lives over whom they love and how they dress. Celebrities like Bad bunny or his real name, Benito Antonio Martínez Ocasio, who is Puerto Rican, are actively fitting back and raising awareness of numerous topics. From feminicide to queer and trans people being murdered in his and other Latin countries. In the book, "Translating the queer: Body Politics and Transnational Conversation", there is a usage of the words decolonizing and coloniality. Latin American people interact inside of coloniality. Meaning that there is still the idea that those who do not fit in with the white standards that the Spaniards upheld, are considered lesser. However, at the same, there is a movement for decolonization, "be understood as a result of abolishing forms of homophobia that are ingrained in the culture as a result of colonial patriarchal imposition." This means to get rid of the ways colonizers use to label and certain a group of people based on how they looked and other attributes. While there is still the idea of basing people in a higher rank in society based on their looks, it is not adding to sexuality. Queer and trans people are being targeted even more because of multiple oppressive things against them. == testing == TESTING ae8ae6c058c45347a730c2b2737b23ae731891d4 0 33 206 2022-09-19T19:24:38Z Brwilson1 12 Created page with "==Growing Up== ==Education== ==Poetry== ==Influence== ==References==" wikitext text/x-wiki ==Growing Up== ==Education== ==Poetry== ==Influence== ==References== 232c8350ff165fb59fc611a2bffd959892c84475 0 31 213 212 2022-09-19T21:12:36Z Anelco 22 wikitext text/x-wiki ==== Heading text ==== AC In Central American countries, there is more hastily toward people who are queer or those who are on the spectrum of LGBTQ+. More than often, people are losing their lives over whom they love and how they dress. Celebrities like Bad bunny or his real name, Benito Antonio Martínez Ocasio, who is Puerto Rican, are actively fitting back and raising awareness of numerous topics. From feminicide to queer and trans people being murdered in his and other Latin countries. In the book, "Translating the queer: Body Politics and Transnational Conversation", there is a usage of the words decolonizing and coloniality. Latin American people interact inside of coloniality. Meaning that there is still the idea that those who do not fit in with the white standards that the Spaniards upheld, are considered lesser. However, at the same, there is a movement for decolonization, "be understood as a result of abolishing forms of homophobia that are ingrained in the culture as a result of colonial patriarchal imposition." This means to get rid of the ways colonizers use to label and certain a group of people based on how they looked and other attributes. While there is still the idea of basing people in a higher rank in society based on their looks, it is not adding to sexuality. Queer and trans people are being targeted even more because of multiple oppressive things against them. ==== Heading text ==== ==== Heading text ==== ==== Heading text ==== b9c29f12b5ca4ead660bac1f14e75c2dfd8d2839 215 213 2022-09-19T21:14:36Z Anelco 22 wikitext text/x-wiki ==== Heading text ==== AC In Central American countries, there is more hastily toward people who are queer or those who are on the spectrum of LGBTQ+. More than often, people are losing their lives over whom they love and how they dress. Celebrities like Bad bunny or his real name, Benito Antonio Martínez Ocasio, who is Puerto Rican, are actively fitting back and raising awareness of numerous topics. From feminicide to queer and trans people being murdered in his and other Latin countries. In the book, "Translating the queer: Body Politics and Transnational Conversation", there is a usage of the words decolonizing and coloniality. Latin American people interact inside of coloniality. Meaning that there is still the idea that those who do not fit in with the white standards that the Spaniards upheld, are considered lesser. However, at the same, there is a movement for decolonization, "be understood as a result of abolishing forms of homophobia that are ingrained in the culture as a result of colonial patriarchal imposition." This means to get rid of the ways colonizers use to label and certain a group of people based on how they looked and other attributes. While there is still the idea of basing people in a higher rank in society based on their looks, it is not adding to sexuality. Queer and trans people are being targeted even more because of multiple oppressive things against them. a2ded907dfd4c82bd0e362a41dfd48d0244d5b5e 216 215 2022-09-19T21:15:14Z Anelco 22 wikitext text/x-wiki ==== Heading text ==== ==== Heading text ==== ==== Heading text ==== ==== Heading text ==== AC In Central American countries, there is more hastily toward people who are queer or those who are on the spectrum of LGBTQ+. More than often, people are losing their lives over whom they love and how they dress. Celebrities like Bad bunny or his real name, Benito Antonio Martínez Ocasio, who is Puerto Rican, are actively fitting back and raising awareness of numerous topics. From feminicide to queer and trans people being murdered in his and other Latin countries. In the book, "Translating the queer: Body Politics and Transnational Conversation", there is a usage of the words decolonizing and coloniality. Latin American people interact inside of coloniality. Meaning that there is still the idea that those who do not fit in with the white standards that the Spaniards upheld, are considered lesser. However, at the same, there is a movement for decolonization, "be understood as a result of abolishing forms of homophobia that are ingrained in the culture as a result of colonial patriarchal imposition." This means to get rid of the ways colonizers use to label and certain a group of people based on how they looked and other attributes. While there is still the idea of basing people in a higher rank in society based on their looks, it is not adding to sexuality. Queer and trans people are being targeted even more because of multiple oppressive things against them. 4bb1267a6fa84be6e6af7293372244d6a3562e8b 236 216 2022-09-23T21:39:45Z Anelco 22 wikitext text/x-wiki ==== Introduction ==== AC In Central American countries, there is more hastily toward people who are queer or those who are on the spectrum of LGBTQ+. More than often, people are losing their lives over whom they love and how they dress. Celebrities like Bad bunny or his real name, Benito Antonio Martínez Ocasio, who is Puerto Rican, are actively fitting back and raising awareness of numerous topics. From feminicide to queer and trans people being murdered in his and other Latin countries. In the book, "Translating the queer: Body Politics and Transnational Conversation", there is a usage of the words decolonizing and coloniality. Latin American people interact inside of coloniality. Meaning that there is still the idea that those who do not fit in with the white standards that the Spaniards upheld, are considered lesser. However, at the same, there is a movement for decolonization, "be understood as a result of abolishing forms of homophobia that are ingrained in the culture as a result of colonial patriarchal imposition." This means to get rid of the ways colonizers use to label and certain a group of people based on how they looked and other attributes. While there is still the idea of basing people in a higher rank in society based on their looks, it is not adding to sexuality. Queer and trans people are being targeted even more because of multiple oppressive things against them. ==== Celebrity ==== so ==== Authors ==== ==== Quotes and other ==== d617df8030dbfd61acfcaa8620c280b200ff9dea 237 236 2022-09-25T07:29:31Z Anelco 22 wikitext text/x-wiki ==== Introduction ==== AC In the book, "Translating the queer: Body Politics and Transnational Conversation", there is a usage of the words decolonizing and coloniality. Latin American people interact inside of coloniality. Meaning that there is still the idea that those who do not fit in with the white standards that the Spaniards upheld, are considered lesser. However, at the same, there is a movement for decolonization, "be understood as a result of abolishing forms of homophobia that are ingrained in the culture as a result of colonial patriarchal imposition." This means to get rid of the ways colonizers use to label and certain a group of people based on how they looked and other attributes. While there is still the idea of basing people in a higher rank in society based on their looks, it is not adding to sexuality. Queer and trans people are being targeted even more because of multiple oppressive things against them. ==== Celebrity ==== One thing I want to mention the rampage of homophobia and transphobia in many Central American Countries. There is a great number of transwomen being attacked and often times killed. More than often, people are losing their lives over whom they love and how they dress. Celebrities like Bad bunny or his real name, Benito Antonio Martínez Ocasio, who is Puerto Rican, are actively fighting back and raising awareness of numerous topics. From feminicide to queer and trans people being murdered in his and other Latin countries. He is constantly fighting back against toxic masculinity and other isms by making songs and talking about it through award shows. Juan Gabriel is a Mexican singer, but I want to mention him because he was talked about a lot because many people assumed his sexuality. His appearance was feminine, and his dancing was labeled as flamboyant, and it never hid this either when he performed. For a lot of queer people, Juan Gabriel reminded people that it is okay to exist outside of confining expectations of gender and sexuality. He never once confirmed that he was a part of the LGBTQ+ because he believed that not everything had to do with labels and fitting into the binary. “Juan Gabriel became a symbol of Latino/a queer subjectivity by “being” and “being seen” as “queer” but never explicitly “coming out” in the US mainstream sense.” ==== Authors ==== Gloria Anzaldua (page 49). “Queer decolonization focuses on that system of differences, making visible the obsolescence of a binary asymmetrical order and emphasizing the importance of building bridges in order to neutralize exclusionary practices.” While Anzaldua is not considered Latina or Latinx, she is a Chicana, and her work can be used in many examples of Latino/a/x or Queer conversations. ==== Quotes and other ==== afe35fbddb6b7db56707345fea826a5f1763a33a 257 237 2022-09-26T04:56:41Z Anelco 22 wikitext text/x-wiki ==== Introduction ==== AC In the book, "Translating the queer: Body Politics and Transnational Conversation", there is a usage of the words decolonizing and coloniality. Latin American people interact inside of coloniality. Meaning that there is still the idea that those who do not fit in with the white standards that the Spaniards upheld, are considered lesser. However, at the same, there is a movement for decolonization, "be understood as a result of abolishing forms of homophobia that are ingrained in the culture as a result of colonial patriarchal imposition." This means to get rid of the ways colonizers use to label and certain a group of people based on how they looked and other attributes. While there is still the idea of basing people in a higher rank in society based on their looks, it is not adding to sexuality. Queer and trans people are being targeted even more because of multiple oppressive things against them. ==== Celebrity ==== One thing I want to mention is the rampage of homophobia and transphobia in many Central American Countries. There is a great number of transwomen being attacked and often times killed. More than often, people are losing their lives over whom they love and how they dress. Celebrities like Bad bunny or his real name, Benito Antonio Martínez Ocasio, who is Puerto Rican, are actively fighting back and raising awareness of numerous topics. From feminicide to queer and trans people being murdered in his and other Latin countries. He is constantly fighting back against toxic masculinity and other isms by making songs and talking about it through award shows. Juan Gabriel is a Mexican singer, but I want to mention him because he was talked about a lot because many people assumed his sexuality. His appearance was feminine, and his dancing was labeled as flamboyant, and it never hid this either when he performed. For a lot of queer people, Juan Gabriel reminded people that it is okay to exist outside of confining expectations of gender and sexuality. He never once confirmed that he was a part of the LGBTQ+ because he believed that not everything had to do with labels and fitting into the binary. “Juan Gabriel became a symbol of Latino/a queer subjectivity by “being” and “being seen” as “queer” but never explicitly “coming out” in the US mainstream sense.” ==== Authors ==== Gloria Anzaldua (page 49). “Queer decolonization focuses on that system of differences, making visible the obsolescence of a binary asymmetrical order and emphasizing the importance of building bridges in order to neutralize exclusionary practices.” While Anzaldua is not considered Latina or Latinx, she is a Chicana, and her work can be used in many examples of Latino/a/x or Queer conversations. ==== Conclusion ==== “Issues of intersexuality, which interrogates the heteronormative, constraints of the binary order of differentiation, have also been ... irrelevant...addition, studies of disabilities and body transformation.” e2ff27a473927aa43809b0d3c41fce239441b3a6 0 34 214 2022-09-19T21:12:51Z Schilds 7 Created page with "== Allegorical Worlds == == Transgender Allusions == In Centaurworld, there is two worlds: the dark, grey human world and the bright, happy Centaurworld. Protagonist Horse is from the human world but gets transported to Centaurworld. Horse’s design is full of angles and harsh lines, but the longer she stays in this new world, her body begins to change and shift into a more cartoon, rounded style similar to the other characters in Centaurworld. She also gains magical ch..." wikitext text/x-wiki == Allegorical Worlds == == Transgender Allusions == In Centaurworld, there is two worlds: the dark, grey human world and the bright, happy Centaurworld. Protagonist Horse is from the human world but gets transported to Centaurworld. Horse’s design is full of angles and harsh lines, but the longer she stays in this new world, her body begins to change and shift into a more cartoon, rounded style similar to the other characters in Centaurworld. She also gains magical changes such as a talking tail that does standup comedy and rainbow tears, much to her chagrin. In the beginning of episode 6, “Holes: Part 2”, an ensemble song relating the emergence of ones first spell to puberty is performed. I argue that this is a metaphor for the uncomfort often associated with puberty for transgender individuals. Horse hates her new characteristics and feels as if they aren’t “her”. She says to her friend Wammawink in episode 6 regarding the new changes,”It’s not bad for you, but it doesn't work for me.” Later in episode 8, “RIde the Whaletaur Shaman!” She sings, “My reflection has become an unfamiliar someone.” == Queer Coding == Despite lacking any reference to sexuality or romance, Centaurworld is very queer coded. It makes sense to start with. One of most visibly queeer coded characters, Zulius the zebrataur. Zulius is a caricature of a stereotypical gay man, complete with gay male speech, an obsession with his looks (particularly his hair), and a love for gossip. He even has a magical ability to stop time and deliver gossip straight to the audience of the show, which he calls hot goss. Zulius’ queer coding is most prominent in episode 7, “Johnny Teatime’s Be Best Competition: A Quest for the Sash”. In this episode, our cast must compete in a beauty competition to win the next key piece which is needed for protagonist Horse to return home to the human world. Zulius jumps at the opportunity to compete, quickly changing into what looks like a rave outfit complete with a green tank top and jean shorts. Centaurworld also normalizes difference in sexuality with the character Comfortable Doug, who sings in episode 9, “The Rift: Part 1”, “I never found a husband or a wife.” == Suicide == Despite being a children’s show, there are big references to suicide in episode8, “Ride the Whaletaur Shaman!”. Centaurs from across the world go to the Whaletaur shaman to be eaten by her so they no longer feel any pain. The Whaletaur shaman sings,“And if you’re feeling blue, I’ve got the place for you in me. I promise I’ll consume all your pain. I know sadness when I see it and I’m here so you don’t feel that way again… You can fade in blissful peace and have one restful, gentle, happy final day.” The language here is clearly referencing suicide, especially with the mention of ones final day. The Whaletaur shaman says to Horse, “Usually, when somebody comes to me they want to escape this world.” This ‘escape’ is the centaurworld version of suicide. 6b8c47294ea735f87732bd8b0103746d42f9c32f 223 214 2022-09-19T21:26:23Z Schilds 7 wikitext text/x-wiki == Allegorical Worlds == In Centaurworld, there is two worlds: the dark, grey human world and the bright, happy Centaurworld. Centaurworld represents a sort of queer utopia, where differences are celebrated and there’s no prejudice or conflict, whereas the human world represents the straight heteronormative reality. In Centaurworld, our protagonist Horse meets a group of centaurs of all different races in a herd. For a herd to be of different races is different and unique, yet they’re treated equally. This herd acts as a found family for Horse throughout the show. Found family is a queer thing; a large number of queer people have to find their own family because for some reason of another theirs is gone or distant. For example, because of prejudice against queer people. This normalization of found family furthers the idea of Centaurworld being a queer utopia. == Transgender Allusions == In Centaurworld, there is two worlds: the dark, grey human world and the bright, happy Centaurworld. Protagonist Horse is from the human world but gets transported to Centaurworld. Horse’s design is full of angles and harsh lines, but the longer she stays in this new world, her body begins to change and shift into a more cartoon, rounded style similar to the other characters in Centaurworld. She also gains magical changes such as a talking tail that does standup comedy and rainbow tears, much to her chagrin. In the beginning of episode 6, “Holes: Part 2”, an ensemble song relating the emergence of ones first spell to puberty is performed. I argue that this is a metaphor for the uncomfort often associated with puberty for transgender individuals. Horse hates her new characteristics and feels as if they aren’t “her”. She says to her friend Wammawink in episode 6 regarding the new changes,”It’s not bad for you, but it doesn't work for me.” Later in episode 8, “RIde the Whaletaur Shaman!” She sings, “My reflection has become an unfamiliar someone.” == Queer Coding == Despite lacking any reference to sexuality or romance, Centaurworld is very queer coded. It makes sense to start with. One of most visibly queeer coded characters, Zulius the zebrataur. Zulius is a caricature of a stereotypical gay man, complete with gay male speech, an obsession with his looks (particularly his hair), and a love for gossip. He even has a magical ability to stop time and deliver gossip straight to the audience of the show, which he calls hot goss. Zulius’ queer coding is most prominent in episode 7, “Johnny Teatime’s Be Best Competition: A Quest for the Sash”. In this episode, our cast must compete in a beauty competition to win the next key piece which is needed for protagonist Horse to return home to the human world. Zulius jumps at the opportunity to compete, quickly changing into what looks like a rave outfit complete with a green tank top and jean shorts. Centaurworld also normalizes difference in sexuality with the character Comfortable Doug, who sings in episode 9, “The Rift: Part 1”, “I never found a husband or a wife.” == Suicide == Despite being a children’s show, there are big references to suicide in episode8, “Ride the Whaletaur Shaman!”. Centaurs from across the world go to the Whaletaur shaman to be eaten by her so they no longer feel any pain. The Whaletaur shaman sings,“And if you’re feeling blue, I’ve got the place for you in me. I promise I’ll consume all your pain. I know sadness when I see it and I’m here so you don’t feel that way again… You can fade in blissful peace and have one restful, gentle, happy final day.” The language here is clearly referencing suicide, especially with the mention of ones final day. The Whaletaur shaman says to Horse, “Usually, when somebody comes to me they want to escape this world.” This ‘escape’ is the centaurworld version of suicide. 26e86296cd585c63742a72155f31d879a2814be2 231 223 2022-09-19T21:43:53Z Schilds 7 /* Suicide */ wikitext text/x-wiki == Allegorical Worlds == In Centaurworld, there is two worlds: the dark, grey human world and the bright, happy Centaurworld. Centaurworld represents a sort of queer utopia, where differences are celebrated and there’s no prejudice or conflict, whereas the human world represents the straight heteronormative reality. In Centaurworld, our protagonist Horse meets a group of centaurs of all different races in a herd. For a herd to be of different races is different and unique, yet they’re treated equally. This herd acts as a found family for Horse throughout the show. Found family is a queer thing; a large number of queer people have to find their own family because for some reason of another theirs is gone or distant. For example, because of prejudice against queer people. This normalization of found family furthers the idea of Centaurworld being a queer utopia. == Transgender Allusions == In Centaurworld, there is two worlds: the dark, grey human world and the bright, happy Centaurworld. Protagonist Horse is from the human world but gets transported to Centaurworld. Horse’s design is full of angles and harsh lines, but the longer she stays in this new world, her body begins to change and shift into a more cartoon, rounded style similar to the other characters in Centaurworld. She also gains magical changes such as a talking tail that does standup comedy and rainbow tears, much to her chagrin. In the beginning of episode 6, “Holes: Part 2”, an ensemble song relating the emergence of ones first spell to puberty is performed. I argue that this is a metaphor for the uncomfort often associated with puberty for transgender individuals. Horse hates her new characteristics and feels as if they aren’t “her”. She says to her friend Wammawink in episode 6 regarding the new changes,”It’s not bad for you, but it doesn't work for me.” Later in episode 8, “RIde the Whaletaur Shaman!” She sings, “My reflection has become an unfamiliar someone.” == Queer Coding == Despite lacking any reference to sexuality or romance, Centaurworld is very queer coded. It makes sense to start with. One of most visibly queeer coded characters, Zulius the zebrataur. Zulius is a caricature of a stereotypical gay man, complete with gay male speech, an obsession with his looks (particularly his hair), and a love for gossip. He even has a magical ability to stop time and deliver gossip straight to the audience of the show, which he calls hot goss. Zulius’ queer coding is most prominent in episode 7, “Johnny Teatime’s Be Best Competition: A Quest for the Sash”. In this episode, our cast must compete in a beauty competition to win the next key piece which is needed for protagonist Horse to return home to the human world. Zulius jumps at the opportunity to compete, quickly changing into what looks like a rave outfit complete with a green tank top and jean shorts. Centaurworld also normalizes difference in sexuality with the character Comfortable Doug, who sings in episode 9, “The Rift: Part 1”, “I never found a husband or a wife.” == Suicide == Despite being a children’s show, there are big references to suicide in episode 8, “Ride the Whaletaur Shaman!”. Centaurs from across the world go to the Whaletaur shaman to be eaten by her so they no longer feel any pain. The Whaletaur shaman sings,“And if you’re feeling blue, I’ve got the place for you in me. I promise I’ll consume all your pain. I know sadness when I see it and I’m here so you don’t feel that way again… You can fade in blissful peace and have one restful, gentle, happy final day.” The language here is clearly referencing suicide, especially with the mention of ones final day. The Whaletaur shaman says to Horse, “Usually, when somebody comes to me they want to escape this world.” This ‘escape’ is the Centaurworld version of suicide. ecde7ec6f87def55e61813564b99f8cd4ae8f6db 232 231 2022-09-19T21:45:46Z Schilds 7 /* Transgender Allusions */ wikitext text/x-wiki == Allegorical Worlds == In Centaurworld, there is two worlds: the dark, grey human world and the bright, happy Centaurworld. Centaurworld represents a sort of queer utopia, where differences are celebrated and there’s no prejudice or conflict, whereas the human world represents the straight heteronormative reality. In Centaurworld, our protagonist Horse meets a group of centaurs of all different races in a herd. For a herd to be of different races is different and unique, yet they’re treated equally. This herd acts as a found family for Horse throughout the show. Found family is a queer thing; a large number of queer people have to find their own family because for some reason of another theirs is gone or distant. For example, because of prejudice against queer people. This normalization of found family furthers the idea of Centaurworld being a queer utopia. == Transgender Allusions == Protagonist Horse is from the human world but gets transported to Centaurworld. Horse’s design is full of angles and harsh lines, but the longer she stays in this new world, her body begins to change and shift into a more cartoon, rounded style similar to the other characters in Centaurworld. She also gains magical changes such as a talking tail that does standup comedy and rainbow tears, much to her chagrin. In the beginning of episode 6, “Holes: Part 2”, an ensemble song relating the emergence of ones first spell to puberty is performed. I argue that this is a metaphor for the uncomfort often associated with puberty for transgender individuals. Horse hates her new characteristics and feels as if they aren’t “her”. She says to her friend Wammawink in episode 6 regarding the new changes,”It’s not bad for you, but it doesn't work for me.” Later in episode 8, “RIde the Whaletaur Shaman!” She sings, “My reflection has become an unfamiliar someone.” == Queer Coding == Despite lacking any reference to sexuality or romance, Centaurworld is very queer coded. It makes sense to start with. One of most visibly queeer coded characters, Zulius the zebrataur. Zulius is a caricature of a stereotypical gay man, complete with gay male speech, an obsession with his looks (particularly his hair), and a love for gossip. He even has a magical ability to stop time and deliver gossip straight to the audience of the show, which he calls hot goss. Zulius’ queer coding is most prominent in episode 7, “Johnny Teatime’s Be Best Competition: A Quest for the Sash”. In this episode, our cast must compete in a beauty competition to win the next key piece which is needed for protagonist Horse to return home to the human world. Zulius jumps at the opportunity to compete, quickly changing into what looks like a rave outfit complete with a green tank top and jean shorts. Centaurworld also normalizes difference in sexuality with the character Comfortable Doug, who sings in episode 9, “The Rift: Part 1”, “I never found a husband or a wife.” == Suicide == Despite being a children’s show, there are big references to suicide in episode 8, “Ride the Whaletaur Shaman!”. Centaurs from across the world go to the Whaletaur shaman to be eaten by her so they no longer feel any pain. The Whaletaur shaman sings,“And if you’re feeling blue, I’ve got the place for you in me. I promise I’ll consume all your pain. I know sadness when I see it and I’m here so you don’t feel that way again… You can fade in blissful peace and have one restful, gentle, happy final day.” The language here is clearly referencing suicide, especially with the mention of ones final day. The Whaletaur shaman says to Horse, “Usually, when somebody comes to me they want to escape this world.” This ‘escape’ is the Centaurworld version of suicide. 9b7d578ff831048cb3e3382a568b3c2b6ce4dc44 0 35 217 2022-09-19T21:15:17Z Sofun 15 Created page with "The Dallas Way == About == == History == == Stories == == Events == == Photos == == References == <references/>" wikitext text/x-wiki The Dallas Way == About == == History == == Stories == == Events == == Photos == == References == <references/> 586eb111817fe993cb6891ae0f6a147e41f0422d 0 36 218 2022-09-19T21:17:41Z ARStallings 10 Created page with "Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == == Background == == The Queen Art of Failure == == Applications == == References == <references/>" wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == == Background == == The Queen Art of Failure == == Applications == == References == <references/> 14703b9b1cffb3907b97b0c60898cb305adafbb1 220 218 2022-09-19T21:18:04Z ARStallings 10 /* The Queen Art of Failure */ wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == == Background == == ''The Queen Art of Failure'' == == Applications == == References == <references/> 6895f7a1338ff774316051f47665d5ece0da65fb 238 220 2022-09-26T03:15:19Z ARStallings 10 wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == == Background == == ''The Queen Art of Failure'' == == Applications == == References == <references/> Halberstam, Jack. The Queer Art of Failure. Duke University Press, 2011. 65edf1e7212847c5ce3fea2ededdb062faa010e0 239 238 2022-09-26T03:27:55Z ARStallings 10 /* Definition */ wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == Adapted from Stuart Hall's work, low theory prevents us from losing "the idealism of hope" and makes peace with the possibility that there is alternative visions of "life, love, and labor." == Background == == ''The Queen Art of Failure'' == == Applications == == References == <references/> Halberstam, Jack. The Queer Art of Failure. Duke University Press, 2011. ae51959ef03007d8e5d240804cbd74ea83eec29b 240 239 2022-09-26T03:29:20Z ARStallings 10 /* Definition */ wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == Adapted from Stuart Hall's work, low theory prevents us from losing "the idealism of hope" and makes peace with the possibility that there is alternative visions of "life, love, and labor." <ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> == Background == == ''The Queen Art of Failure'' == == Applications == == References == <references/> Halberstam, Jack. The Queer Art of Failure. Duke University Press, 2011. a4b334077ad717a514f4dc5af7a17f4f8e9f6a9f 241 240 2022-09-26T03:29:36Z ARStallings 10 /* References */ wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == Adapted from Stuart Hall's work, low theory prevents us from losing "the idealism of hope" and makes peace with the possibility that there is alternative visions of "life, love, and labor." <ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> == Background == == ''The Queen Art of Failure'' == == Applications == == References == <references/> 1872064a1dd7582b43b8594f7470e35f5a489f6a 242 241 2022-09-26T03:34:21Z ARStallings 10 /* The Queen Art of Failure */ wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == Adapted from Stuart Hall's work, low theory prevents us from losing "the idealism of hope" and makes peace with the possibility that there is alternative visions of "life, love, and labor." <ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> == Background == == ''The Queen Art of Failure'' == Written by Jack Halberstam, the Introduction seeks to outline the key points that the book seeks to make. This book "stroll[s] out of the confines of conventional knowledge into the unregulated territories of failure, loss, and unbecoming," arguing that societal perceptions of success are too rigid. It cites several success stories of people who were once regarded as failures and achieved success later down the road– "rogue intellectuals" is the term that Halberstam writes. == Applications == == References == <references/> 70a56268e5ed28ff95e2e83ac8cec4d6898b4446 243 242 2022-09-26T03:36:41Z ARStallings 10 /* Definition */ wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == Adapted from Stuart Hall's work, low theory prevents us from losing "the idealism of hope" and makes peace with the possibility that there is alternative visions of "life, love, and labor." <ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> Further, low theory seeks to be the other to high theory. Halberstam argues that, so long as high theory exists, then there is an implied low theory. == Background == == ''The Queen Art of Failure'' == Written by Jack Halberstam, the Introduction seeks to outline the key points that the book seeks to make. This book "stroll[s] out of the confines of conventional knowledge into the unregulated territories of failure, loss, and unbecoming," arguing that societal perceptions of success are too rigid. It cites several success stories of people who were once regarded as failures and achieved success later down the road– "rogue intellectuals" is the term that Halberstam writes. == Applications == == References == <references/> 6d8d6b4625a7ecd9e1e4333f0b96b6c03d9214dd 244 243 2022-09-26T03:37:49Z ARStallings 10 wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == Adapted from Stuart Hall's work, low theory prevents us from losing "the idealism of hope" and makes peace with the possibility that there is alternative visions of "life, love, and labor." <ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> Further, low theory seeks to be the other to high theory. Halberstam argues that, so long as high theory exists, then there is an implied low theory. == Background == == ''The Queen Art of Failure'' == Written by Jack Halberstam, the Introduction seeks to outline the key points that the book seeks to make. This book "stroll[s] out of the confines of conventional knowledge into the unregulated territories of failure, loss, and unbecoming," arguing that societal perceptions of success are too rigid. It cites several success stories of people who were once regarded as failures and achieved success later down the road– "rogue intellectuals" is the term that Halberstam writes. == Jack Halberstam == == References == <references/> 167aa97226b5652a6cd112273bb466c0bfbac0c0 245 244 2022-09-26T03:39:44Z ARStallings 10 /* Jack Halberstam */ wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == Adapted from Stuart Hall's work, low theory prevents us from losing "the idealism of hope" and makes peace with the possibility that there is alternative visions of "life, love, and labor." <ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> Further, low theory seeks to be the other to high theory. Halberstam argues that, so long as high theory exists, then there is an implied low theory. == Background == == ''The Queen Art of Failure'' == Written by Jack Halberstam, the Introduction seeks to outline the key points that the book seeks to make. This book "stroll[s] out of the confines of conventional knowledge into the unregulated territories of failure, loss, and unbecoming," arguing that societal perceptions of success are too rigid. It cites several success stories of people who were once regarded as failures and achieved success later down the road– "rogue intellectuals" is the term that Halberstam writes. == Jack Halberstam == Halberstam is a professor of Gender Studies and English at Columbia University. Halberstam was awarded Places Journal's Arcus/Places Prize in 2018 for "innovative public scholarship on the relationship between gender, sexuality and the built environment." == References == <references/> 153ecc7a87f6caba4c3671cc8aa35cae4ce8e6e9 246 245 2022-09-26T03:40:31Z ARStallings 10 wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == Adapted from Stuart Hall's work, low theory prevents us from losing "the idealism of hope" and makes peace with the possibility that there is alternative visions of "life, love, and labor." <ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> Further, low theory seeks to be the other to high theory. Halberstam argues that, so long as high theory exists, then there is an implied low theory. == Background == == ''The Queen Art of Failure'' == Written by Jack Halberstam, the Introduction seeks to outline the key points that the book seeks to make. This book "stroll[s] out of the confines of conventional knowledge into the unregulated territories of failure, loss, and unbecoming,"<ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> arguing that societal perceptions of success are too rigid. It cites several success stories of people who were once regarded as failures and achieved success later down the road– "rogue intellectuals" is the term that Halberstam writes. == Jack Halberstam == Halberstam is a professor of Gender Studies and English at Columbia University. Halberstam was awarded Places Journal's Arcus/Places Prize in 2018 for "innovative public scholarship on the relationship between gender, sexuality and the built environment." <ref> Jack Halberstam. https://english.columbia.edu/content/jack-halberstam </ref> == References == <references/> ed329b7f7444830f6b393bd07a6150e4af62ea98 247 246 2022-09-26T03:41:27Z ARStallings 10 /* Jack Halberstam */ wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == Adapted from Stuart Hall's work, low theory prevents us from losing "the idealism of hope" and makes peace with the possibility that there is alternative visions of "life, love, and labor." <ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> Further, low theory seeks to be the other to high theory. Halberstam argues that, so long as high theory exists, then there is an implied low theory. == Background == == ''The Queen Art of Failure'' == Written by Jack Halberstam, the Introduction seeks to outline the key points that the book seeks to make. This book "stroll[s] out of the confines of conventional knowledge into the unregulated territories of failure, loss, and unbecoming,"<ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> arguing that societal perceptions of success are too rigid. It cites several success stories of people who were once regarded as failures and achieved success later down the road– "rogue intellectuals" is the term that Halberstam writes. == Jack Halberstam == Halberstam is a professor of Gender Studies and English at Columbia University. Halberstam was awarded Places Journal's Arcus/Places Prize in 2018 for "innovative public scholarship on the relationship between gender, sexuality and the built environment." Halberstam is also the Director of the Institute for Research on Women, Gender and Sexuality and Professor of English and Comparative Literature.<ref> Jack Halberstam. https://english.columbia.edu/content/jack-halberstam </ref> == References == <references/> 4445c7e169630bbe0056ab513350335e2c95498a 248 247 2022-09-26T03:43:07Z ARStallings 10 /* The Queen Art of Failure */ wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == Adapted from Stuart Hall's work, low theory prevents us from losing "the idealism of hope" and makes peace with the possibility that there is alternative visions of "life, love, and labor." <ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> Further, low theory seeks to be the other to high theory. Halberstam argues that, so long as high theory exists, then there is an implied low theory. == Background == == ''The Queer Art of Failure'' == Written by Jack Halberstam, ''The Queer Art of Failure'' centers alternatives. The Introduction seeks to outline the key points that the book seeks to make. This book "stroll[s] out of the confines of conventional knowledge into the unregulated territories of failure, loss, and unbecoming,"<ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> arguing that societal perceptions of success are too rigid. It cites several success stories of people who were once regarded as failures and achieved success later down the road– "rogue intellectuals" is the term that Halberstam writes. == Jack Halberstam == Halberstam is a professor of Gender Studies and English at Columbia University. Halberstam was awarded Places Journal's Arcus/Places Prize in 2018 for "innovative public scholarship on the relationship between gender, sexuality and the built environment." Halberstam is also the Director of the Institute for Research on Women, Gender and Sexuality and Professor of English and Comparative Literature.<ref> Jack Halberstam. https://english.columbia.edu/content/jack-halberstam </ref> == References == <references/> b02a6378fbafbf1626f1e102f660db8df54ffebc 249 248 2022-09-26T03:44:20Z ARStallings 10 /* Definition */ wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == Adapted from Stuart Hall's work, low theory prevents us from losing "the idealism of hope" and makes peace with the possibility that there is alternative visions of "life, love, and labor." <ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> Duke University Press summarizes it as "a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance." <ref> Low Theory Halberstam, J. (2011). https://www.dukeupress.edu/the-queer-art-of-failure </ref> Further, low theory seeks to be the other to high theory. Halberstam argues that, so long as high theory exists, then there is an implied low theory. == Background == == ''The Queer Art of Failure'' == Written by Jack Halberstam, ''The Queer Art of Failure'' centers alternatives. The Introduction seeks to outline the key points that the book seeks to make. This book "stroll[s] out of the confines of conventional knowledge into the unregulated territories of failure, loss, and unbecoming,"<ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> arguing that societal perceptions of success are too rigid. It cites several success stories of people who were once regarded as failures and achieved success later down the road– "rogue intellectuals" is the term that Halberstam writes. == Jack Halberstam == Halberstam is a professor of Gender Studies and English at Columbia University. Halberstam was awarded Places Journal's Arcus/Places Prize in 2018 for "innovative public scholarship on the relationship between gender, sexuality and the built environment." Halberstam is also the Director of the Institute for Research on Women, Gender and Sexuality and Professor of English and Comparative Literature.<ref> Jack Halberstam. https://english.columbia.edu/content/jack-halberstam </ref> == References == <references/> 48293d7c9ebf59ae6660033c06bd0968a3e224cb 250 249 2022-09-26T03:46:41Z ARStallings 10 /* Jack Halberstam */ wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == Adapted from Stuart Hall's work, low theory prevents us from losing "the idealism of hope" and makes peace with the possibility that there is alternative visions of "life, love, and labor." <ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> Duke University Press summarizes it as "a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance." <ref> Low Theory Halberstam, J. (2011). https://www.dukeupress.edu/the-queer-art-of-failure </ref> Further, low theory seeks to be the other to high theory. Halberstam argues that, so long as high theory exists, then there is an implied low theory. == Background == == ''The Queer Art of Failure'' == Written by Jack Halberstam, ''The Queer Art of Failure'' centers alternatives. The Introduction seeks to outline the key points that the book seeks to make. This book "stroll[s] out of the confines of conventional knowledge into the unregulated territories of failure, loss, and unbecoming,"<ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> arguing that societal perceptions of success are too rigid. It cites several success stories of people who were once regarded as failures and achieved success later down the road– "rogue intellectuals" is the term that Halberstam writes. == Jack Halberstam == Halberstam is a professor of Gender Studies and English at Columbia University. Halberstam was awarded Places Journal's Arcus/Places Prize in 2018 for "innovative public scholarship on the relationship between gender, sexuality and the built environment." Halberstam is also the Director of the Institute for Research on Women, Gender and Sexuality and Professor of English and Comparative Literature. Besides ''The Queer Art of Failure,'' Halberstam has written 6 other books: ''Skin Shows: Gothic Horror and the Technology of Monsters'' (Duke UP, 1995), ''Female Masculinity'' (Duke UP, 1998), ''In A Queer Time and Place'' (NYU Press, 2005), ''Gaga Feminism: Sex, Gender, and the End of Normal'' (Beacon Press, 2012) ''Trans*: A Quick and Quirky Account of Gender Variance'' (University of California Press), and ''Wild Things: The Disorder of Desire'' (2020). <ref> Jack Halberstam. https://english.columbia.edu/content/jack-halberstam </ref> == References == <references/> 11800c69293572c856b20f67d9670d0a18f9605a 251 250 2022-09-26T03:49:41Z ARStallings 10 /* The Queer Art of Failure */ wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Definition == Adapted from Stuart Hall's work, low theory prevents us from losing "the idealism of hope" and makes peace with the possibility that there is alternative visions of "life, love, and labor." <ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> Duke University Press summarizes it as "a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance." <ref> Low Theory Halberstam, J. (2011). https://www.dukeupress.edu/the-queer-art-of-failure </ref> Further, low theory seeks to be the other to high theory. Halberstam argues that, so long as high theory exists, then there is an implied low theory. == Background == == ''The Queer Art of Failure'' == Written by Jack Halberstam, ''The Queer Art of Failure'' centers alternatives. The Introduction seeks to outline the key points that the book seeks to make regarding societal understandings of success in a heteronormative, capitalistic society and question academic disciplines and what they approve of as ways of knowing. This book "stroll[s] out of the confines of conventional knowledge into the unregulated territories of failure, loss, and unbecoming,"<ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> arguing that societal perceptions of success are too rigid. It cites several success stories of people who were once regarded as failures and achieved success later down the road– "rogue intellectuals" Halberstam call them. Such cases include Pixar animators, of which there are many college dropouts. == Jack Halberstam == Halberstam is a professor of Gender Studies and English at Columbia University. Halberstam was awarded Places Journal's Arcus/Places Prize in 2018 for "innovative public scholarship on the relationship between gender, sexuality and the built environment." Halberstam is also the Director of the Institute for Research on Women, Gender and Sexuality and Professor of English and Comparative Literature. Besides ''The Queer Art of Failure,'' Halberstam has written 6 other books: ''Skin Shows: Gothic Horror and the Technology of Monsters'' (Duke UP, 1995), ''Female Masculinity'' (Duke UP, 1998), ''In A Queer Time and Place'' (NYU Press, 2005), ''Gaga Feminism: Sex, Gender, and the End of Normal'' (Beacon Press, 2012) ''Trans*: A Quick and Quirky Account of Gender Variance'' (University of California Press), and ''Wild Things: The Disorder of Desire'' (2020). <ref> Jack Halberstam. https://english.columbia.edu/content/jack-halberstam </ref> == References == <references/> ca75695d585965631617318b1ebe2f511204fb74 252 251 2022-09-26T03:58:04Z ARStallings 10 wikitext text/x-wiki Low Theory is a phrased coined by Jack Halberstam in ''The Queer Art of Failure''. The core idea of the theory is that failure critiques capitalism and heteronomativity. == Jack Halberstam == Halberstam is a professor of Gender Studies and English at Columbia University. Halberstam was awarded Places Journal's Arcus/Places Prize in 2018 for "innovative public scholarship on the relationship between gender, sexuality and the built environment." Halberstam is also the Director of the Institute for Research on Women, Gender and Sexuality and Professor of English and Comparative Literature. Besides ''The Queer Art of Failure,'' Halberstam has written 6 other books: ''Skin Shows: Gothic Horror and the Technology of Monsters'' (Duke UP, 1995), ''Female Masculinity'' (Duke UP, 1998), ''In A Queer Time and Place'' (NYU Press, 2005), ''Gaga Feminism: Sex, Gender, and the End of Normal'' (Beacon Press, 2012) ''Trans*: A Quick and Quirky Account of Gender Variance'' (University of California Press), and ''Wild Things: The Disorder of Desire'' (2020). <ref> Jack Halberstam. https://english.columbia.edu/content/jack-halberstam </ref> == Definition == Adapted from Stuart Hall's work, low theory prevents us from losing "the idealism of hope" and makes peace with the possibility that there is alternative visions of "life, love, and labor." <ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> Duke University Press summarizes it as "a willingness to fail and to lose one’s way, to pursue difficult questions about complicity, and to find counterintuitive forms of resistance." <ref> Low Theory Halberstam, J. (2011). https://www.dukeupress.edu/the-queer-art-of-failure </ref> Further, low theory seeks to be the other to high theory. Halberstam argues that, so long as high theory exists, then there is an implied low theory. == ''The Queer Art of Failure'' == Written by Jack Halberstam, ''The Queer Art of Failure'' centers alternatives. The Introduction seeks to outline the key points that the book seeks to make regarding societal understandings of success in a heteronormative, capitalistic society and question academic disciplines and what they approve of as ways of knowing. This book "stroll[s] out of the confines of conventional knowledge into the unregulated territories of failure, loss, and unbecoming,"<ref> Low Theory Halberstam, J. (2011). The Queer Art of Failure. Duke University Press. </ref> arguing that societal perceptions of success are too rigid. It cites several success stories of people who were once regarded as failures and achieved success later down the road– "rogue intellectuals" Halberstam call them. Such cases include Pixar animators, of which there are many college dropouts. == Applications == Halberstam draws on several popular culture references to demonstrate his point regarding low theory–i.e. ''Monsters Inc.,'' ''SpongeBob Squarepants,'' and ''Little Miss Sunshine.'' He does so to argue against expectations for "scholarly" or "academic" sources in scholarly settings. == References == <references/> 800bdf6a5f4171238aabc52468a6d819535c2de3 0 37 219 2022-09-19T21:17:54Z Amanda.peter 13 Created page with "Compulsory heterosexuality (75487) == Am I a Lesbian? == == Subheading 2 == == Tik Tok == == Problems & Critiques == == References == <references/>" wikitext text/x-wiki Compulsory heterosexuality (75487) == Am I a Lesbian? == == Subheading 2 == == Tik Tok == == Problems & Critiques == == References == <references/> 5f2f26339523fad1849d33e6f5958a7d31b65476 0 38 221 2022-09-19T21:19:03Z Emma Kate 9 Created page with "== Taylor Swift's Queer Media == == Popular Theories and Evidence == == Accusations of Queerbaiting and Rainbow Capitalism == == Wider Implications == == References ==" wikitext text/x-wiki == Taylor Swift's Queer Media == == Popular Theories and Evidence == == Accusations of Queerbaiting and Rainbow Capitalism == == Wider Implications == == References == 144f92171bcc37cc19ecb0892d2d5d4f7e8691e2 227 221 2022-09-19T21:31:07Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|thumb|Taylor Swift 2 (18477753053)]] == Taylor Swift's Queer Media == == Popular Theories and Evidence == == Accusations of Queerbaiting and Rainbow Capitalism == == Wider Implications == == References == b261f47932dd29b2b5536fbbd9e06f3f3c01ae10 0 33 222 206 2022-09-19T21:21:02Z Brwilson1 12 /* Growing Up */ wikitext text/x-wiki ==Background== ==Education== ==Poetry== ==Influence== ==References== ad2d4f8f1e0c8277a2e28cbba9a24aa2b92a1400 258 222 2022-09-26T05:36:22Z Brwilson1 12 /* Background */ wikitext text/x-wiki ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts. ==Education== ==Poetry== ==Influence== ==References== 551d55f34280a2b9281727024a0c3c32ff17b50e 259 258 2022-09-26T05:36:42Z Brwilson1 12 /* Education */ wikitext text/x-wiki ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts. ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts. He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018. ==Poetry== ==Influence== ==References== 77da73a0b8a41ff83921bd6fd999c8d69a67195f 260 259 2022-09-26T05:36:57Z Brwilson1 12 /* Poetry */ wikitext text/x-wiki ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts. ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts. He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018. ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book Heavenly Tree/Soluble Forest came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote Turning Leaves of Minds, which is an art book. He then wrote A February Sheaf in 2003, which is a collection of different genres. His last book was Heavenly Tree, Northern Earth published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.” ==Influence== ==References== 50cfd05810b51717c7d49052848a76a39ae4cdeb 261 260 2022-09-26T05:37:24Z Brwilson1 12 /* Influence */ wikitext text/x-wiki ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts. ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts. He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018. ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book Heavenly Tree/Soluble Forest came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote Turning Leaves of Minds, which is an art book. He then wrote A February Sheaf in 2003, which is a collection of different genres. His last book was Heavenly Tree, Northern Earth published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.” ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure side of love and show queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== dae8e8874bdc53b1799eea838f35c9e3cec8e07d 262 261 2022-09-26T05:37:39Z Brwilson1 12 /* References */ wikitext text/x-wiki ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts. ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts. He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018. ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book Heavenly Tree/Soluble Forest came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote Turning Leaves of Minds, which is an art book. He then wrote A February Sheaf in 2003, which is a collection of different genres. His last book was Heavenly Tree, Northern Earth published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.” ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure side of love and show queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== o https://www.poetryfoundation.org/collections/101691/queer-love-poems o https://www.poetryfoundation.org/poets/gerrit-lansing o https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/ o https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/ https://archives.yale.edu/agents/people/97066?&filter_fields[]=subjects&filter_values[]=Poets e1f88ee3cbb982718cec310c94b266215ef4b535 0 39 224 2022-09-19T21:28:02Z Chloestarcloud 11 Created blank page wikitext text/x-wiki da39a3ee5e6b4b0d3255bfef95601890afd80709 229 224 2022-09-19T21:38:48Z Chloestarcloud 11 wikitext text/x-wiki In the words of Franca Sozzani, “Fashion is a mirror of the era in which we live". Fashion is a reflection of social reality. It evolves with the world around it and has the power to tell stories of historical significance while simultaneously unfolding the future. Fashion is society. Those in the fashion industry have the responsibility to take inspiration from people across the globe just as much as they are responsible for inspiring them. But with the prevalence of social media, the line that once divided the insiders and outsiders of the fashion industry has blurred- making the industry more expansive than ever before. == Previous Industry Ideals == Vogue <ref>[https://www.vogue.com/fashion]>> == Non-conformity in Fashion == == Public Scrutiny == == Queer Fashion Industry Executives == == Fashion Brands == == Fashion Designers == == Models and Influencers == == References == <references/>https://www.vogue.com/fashion 45a5c79e2271cf7da04bcf221aa8add05f1f9450 0 40 225 2022-09-19T21:30:09Z Jazzypug2010 16 Created page with "Throughout history, movies have been remade, revamped, and redone. The film industry is ever-changing with society. Disney, for example, has embraced remaking classic Disney movies to be more inclusive with modern day values and ideals. Through this acceptance of multiple ways of life, the film industry can evoke queer ideals within the new generation. == Queering Through Disney's History == == Beauty and The Beast == == Aladin == == References == <references/> Beauty..." wikitext text/x-wiki Throughout history, movies have been remade, revamped, and redone. The film industry is ever-changing with society. Disney, for example, has embraced remaking classic Disney movies to be more inclusive with modern day values and ideals. Through this acceptance of multiple ways of life, the film industry can evoke queer ideals within the new generation. == Queering Through Disney's History == == Beauty and The Beast == == Aladin == == References == <references/> Beauty and The Beast <https://www.nbcnews.com/feature/nbc-out/beauty-beast-features-disney-s-first-gay-character-n727876> 0266582aecd276547c8547725e3bdaedd4d79da7 230 225 2022-09-19T21:40:11Z Jazzypug2010 16 wikitext text/x-wiki Throughout history, movies have been remade, revamped, and redone. The film industry is ever-changing with society. Disney, for example, has embraced remaking classic Disney movies to be more inclusive with modern day values and ideals. Through this acceptance of multiple ways of life, the film industry can evoke queer ideals within the new generation. == Queering Through Disney's History == == Beauty and The Beast == == Aladin == == The Little Mermaid == == References == <references/> Beauty and The Beast <https://www.nbcnews.com/feature/nbc-out/beauty-beast-features-disney-s-first-gay-character-n727876> d833ea3c37d04edd20e9c77cd038124488552eb7 0 12 226 110 2022-09-19T21:30:44Z Luretame 6 wikitext text/x-wiki Breann Borlay (born July 6th, 2002), also known by her pen name, Nahari E., and painter pseudonym, Luretame, is a Liberian-American writer, artist, painter, and junior English and Sociology major at Texas Christian University. <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Early History == Borlay was born on July 6th, 2002, in Tulsa, Oklahoma. == Education == In May 2020, Borlay enrolled in Texas Christian University, located in Fort Worth, Texas. Originally enrolled as an English major, she changed her path to include sociology as an additional major. == Original Participants == == Log == == Notes == == References == <references/> 5aece85affe950815d5e58352f5c355d402e4880 0 41 228 2022-09-19T21:33:12Z Groomesdeja 19 Created page with "Test" wikitext text/x-wiki Test 640ab2bae07bedc4c163f679a746f7ab7fb5d1fa 253 228 2022-09-26T04:08:06Z Groomesdeja 19 wikitext text/x-wiki == Queercoding, Defined == == Queer Theories & High School Musical 2 == == Significance == 101e7c7154ab52995a1ed7f1b189cc048dbe4339 256 253 2022-09-26T04:40:38Z Groomesdeja 19 wikitext text/x-wiki = Background = The High School Musical movie franchise is a three part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiering in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the High School Musical franchise has remained a cultural phenomenon among children and adults alike. == Queer Theories & High School Musical 2 == The == Significance == 2a5f71eda8842d73f8c2728f9922219ba81b5983 0 2 233 211 2022-09-19T22:17:39Z Anelco 22 /* Monday, September 19, 2022 */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == == '''Monday, September 19, 2022''' == AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 9ebbe6dc3c89bdd09e64f947531b9e95afb97f32 234 233 2022-09-21T21:13:53Z Catherinecunningham 8 /* Monday, September 19, 2022 */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 21, 2022 === CC == '''Monday, September 19, 2022''' == AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 7accaf75c1595f8bb2024eab715cc7b96666341f 235 234 2022-09-21T22:20:21Z Catherinecunningham 8 /* Wednesday, September 21, 2022 */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! == '''Monday, September 19, 2022''' == AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 0605851590d72fbdd63b8d1940cf150593c2106c 0 42 254 2022-09-26T04:23:58Z Anaya.nichelle 23 Created page with "==== ==== Heading text ==== ==== ==== Heading text ==== ==== ==== Heading text ==== ==== ==== Heading text ==== ==== ==== ==== ====" wikitext text/x-wiki ==== ==== Heading text ==== ==== ==== Heading text ==== ==== ==== Heading text ==== ==== ==== Heading text ==== ==== ==== ==== ==== f32a9e621af2d14708fa4dddb7f406b3bddea881 255 254 2022-09-26T04:24:44Z Anaya.nichelle 23 wikitext text/x-wiki ==== Heading text ==== ==== Heading text ==== ==== Heading text ==== ==== Heading text ==== 87bd9e69857779056b70c00c304fe27c5d6b657f 0 33 263 262 2022-09-26T05:38:14Z Brwilson1 12 /* Personal Life */ wikitext text/x-wiki Gerrit Lansing was an American queer poet who was born in Albany, New York in 1928. Growing up, Gerrit lived in Ohio and later attended Harvard University and Columbia University. After graduation he worked for Columbia University Press while pursuing his master’s degree. He passed away February 11, 2018. ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts. ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts. He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018. ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book Heavenly Tree/Soluble Forest came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote Turning Leaves of Minds, which is an art book. He then wrote A February Sheaf in 2003, which is a collection of different genres. His last book was Heavenly Tree, Northern Earth published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.” ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure side of love and show queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== o https://www.poetryfoundation.org/collections/101691/queer-love-poems o https://www.poetryfoundation.org/poets/gerrit-lansing o https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/ o https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/ https://archives.yale.edu/agents/people/97066?&filter_fields[]=subjects&filter_values[]=Poets 2543aebfb03bbff2c6a6e01a2357998a46997006 264 263 2022-09-26T05:39:42Z Brwilson1 12 /* Personal Life */ wikitext text/x-wiki Gerrit Lansing was an American queer poet who was born in Albany, New York in 1928. Growing up, Gerrit lived in Ohio and later attended Harvard University and Columbia University. After graduation he worked for Columbia University Press while pursuing his master’s degree. He passed away February 11, 2018. Gerrit Lansing was an American queer poet who was born in Albany, New York in 1928 and passed away in Gloucester, Massachusetts in 2018. ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts. ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts. He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018. ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book Heavenly Tree/Soluble Forest came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote Turning Leaves of Minds, which is an art book. He then wrote A February Sheaf in 2003, which is a collection of different genres. His last book was Heavenly Tree, Northern Earth published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.” ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure side of love and show queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== o https://www.poetryfoundation.org/collections/101691/queer-love-poems o https://www.poetryfoundation.org/poets/gerrit-lansing o https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/ o https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/ https://archives.yale.edu/agents/people/97066?&filter_fields[]=subjects&filter_values[]=Poets f3e4a56a9febe17f15cb3c42b0ed1866d4b8100e 265 264 2022-09-26T05:41:32Z Brwilson1 12 wikitext text/x-wiki Gerrit Lansing was an American gay poet, editor, business owner, and professor who was born in Albany, New York in 1928 and passed away in Gloucester, Massachusetts in 2018. ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts. ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts. He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018. ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book Heavenly Tree/Soluble Forest came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote Turning Leaves of Minds, which is an art book. He then wrote A February Sheaf in 2003, which is a collection of different genres. His last book was Heavenly Tree, Northern Earth published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.” ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure side of love and show queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== o https://www.poetryfoundation.org/collections/101691/queer-love-poems o https://www.poetryfoundation.org/poets/gerrit-lansing o https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/ o https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/ https://archives.yale.edu/agents/people/97066?&filter_fields[]=subjects&filter_values[]=Poets 80871460ec908f0afd24c2effe20289052095c3c 266 265 2022-09-26T05:42:53Z Brwilson1 12 /* References */ wikitext text/x-wiki Gerrit Lansing was an American gay poet, editor, business owner, and professor who was born in Albany, New York in 1928 and passed away in Gloucester, Massachusetts in 2018. ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts. ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts. He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018. ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book Heavenly Tree/Soluble Forest came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote Turning Leaves of Minds, which is an art book. He then wrote A February Sheaf in 2003, which is a collection of different genres. His last book was Heavenly Tree, Northern Earth published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.” ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure side of love and show queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== https://www.poetryfoundation.org/collections/101691/queer-love-poems https://www.poetryfoundation.org/poets/gerrit-lansing https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/ https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/ https://archives.yale.edu/agents/people/97066?&filter_fields[]=subjects&filter_values[]=Poets db48480cc3c082a45c7b816e96642b229a70d521 267 266 2022-09-26T05:46:58Z Brwilson1 12 /* Poetry */ wikitext text/x-wiki Gerrit Lansing was an American gay poet, editor, business owner, and professor who was born in Albany, New York in 1928 and passed away in Gloucester, Massachusetts in 2018. ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts. ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts. He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018. ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book ''Heavenly Tree/Soluble Forest'' came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote ''Turning Leaves of Minds'', which is an art book. He then wrote ''A February Sheaf'' in 2003, which is a collection of different genres. His last book was ''Heavenly Tree, Northern Earth'' published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.” ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure side of love and show queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== https://www.poetryfoundation.org/collections/101691/queer-love-poems https://www.poetryfoundation.org/poets/gerrit-lansing https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/ https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/ https://archives.yale.edu/agents/people/97066?&filter_fields[]=subjects&filter_values[]=Poets 94a108979a988d159a1d6b84f9dc4cef0be13102 286 267 2022-09-26T19:02:17Z Brwilson1 12 /* Influence */ wikitext text/x-wiki Gerrit Lansing was an American gay poet, editor, business owner, and professor who was born in Albany, New York in 1928 and passed away in Gloucester, Massachusetts in 2018. ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts. ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts. He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018. ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book ''Heavenly Tree/Soluble Forest'' came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote ''Turning Leaves of Minds'', which is an art book. He then wrote ''A February Sheaf'' in 2003, which is a collection of different genres. His last book was ''Heavenly Tree, Northern Earth'' published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.” ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. >https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/< Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure love and queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== https://www.poetryfoundation.org/collections/101691/queer-love-poems https://www.poetryfoundation.org/poets/gerrit-lansing https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/ https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/ https://archives.yale.edu/agents/people/97066?&filter_fields[]=subjects&filter_values[]=Poets 7d545c0af407a9e39551e0758a9138c0bbc818a7 287 286 2022-09-26T19:03:35Z Brwilson1 12 /* Influence */ wikitext text/x-wiki Gerrit Lansing was an American gay poet, editor, business owner, and professor who was born in Albany, New York in 1928 and passed away in Gloucester, Massachusetts in 2018. ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts. ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts. He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018. ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book ''Heavenly Tree/Soluble Forest'' came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote ''Turning Leaves of Minds'', which is an art book. He then wrote ''A February Sheaf'' in 2003, which is a collection of different genres. His last book was ''Heavenly Tree, Northern Earth'' published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.” ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. <ref>https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/</ref> Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure love and queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== https://www.poetryfoundation.org/collections/101691/queer-love-poems https://www.poetryfoundation.org/poets/gerrit-lansing https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/ https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/ https://archives.yale.edu/agents/people/97066?&filter_fields[]=subjects&filter_values[]=Poets 575ef6165ba21f8fa986cca5b6c6f886702428f8 288 287 2022-09-26T19:04:27Z Brwilson1 12 /* Poetry */ wikitext text/x-wiki Gerrit Lansing was an American gay poet, editor, business owner, and professor who was born in Albany, New York in 1928 and passed away in Gloucester, Massachusetts in 2018. ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts. ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts. He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018. ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book ''Heavenly Tree/Soluble Forest'' came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote ''Turning Leaves of Minds'', which is an art book. He then wrote ''A February Sheaf'' in 2003, which is a collection of different genres. His last book was ''Heavenly Tree, Northern Earth'' published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.”<ref>https://www.poetryfoundation.org/poets/gerrit-lansing</ref> ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. <ref>https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/</ref> Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure love and queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== https://www.poetryfoundation.org/collections/101691/queer-love-poems https://www.poetryfoundation.org/poets/gerrit-lansing https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/ https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/ https://archives.yale.edu/agents/people/97066?&filter_fields[]=subjects&filter_values[]=Poets a6b34f72acd0f3baeeffd4297124b26555e22fba 289 288 2022-09-26T19:08:08Z Brwilson1 12 /* Personal Life */ wikitext text/x-wiki Gerrit Lansing was an American gay poet, editor, business owner, and professor who was born in Albany, New York in 1928 and passed away in Gloucester, Massachusetts in 2018. ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts.<ref>https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/</ref> ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts. He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018. ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book ''Heavenly Tree/Soluble Forest'' came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote ''Turning Leaves of Minds'', which is an art book. He then wrote ''A February Sheaf'' in 2003, which is a collection of different genres. His last book was ''Heavenly Tree, Northern Earth'' published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.”<ref>https://www.poetryfoundation.org/poets/gerrit-lansing</ref> ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. <ref>https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/</ref> Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure love and queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== https://www.poetryfoundation.org/collections/101691/queer-love-poems https://www.poetryfoundation.org/poets/gerrit-lansing https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/ https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/ https://archives.yale.edu/agents/people/97066?&filter_fields[]=subjects&filter_values[]=Poets 81e5d6a7503c575d7477f6c859792e43348ecf43 291 289 2022-09-26T19:10:26Z Brwilson1 12 wikitext text/x-wiki Gerrit Lansing was an American gay poet, editor, business owner, and professor who was born in Albany, New York in 1928 and passed away in Gloucester, Massachusetts in 2018.<ref>https://www.poetryfoundation.org/poets/gerrit-lansing</ref> ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts.<ref>https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/</ref> ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts. He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018.<ref>https://www.poetryfoundation.org/harriet-books/2018/02/rip-gerrit-lansing-1928-2018</ref> ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book ''Heavenly Tree/Soluble Forest'' came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote ''Turning Leaves of Minds'', which is an art book. He then wrote ''A February Sheaf'' in 2003, which is a collection of different genres. His last book was ''Heavenly Tree, Northern Earth'' published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.”<ref>https://www.poetryfoundation.org/poets/gerrit-lansing</ref> ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. <ref>https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/</ref> Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure love and queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== https://www.poetryfoundation.org/collections/101691/queer-love-poems https://www.poetryfoundation.org/poets/gerrit-lansing https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/ https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/ https://archives.yale.edu/agents/people/97066 c5c34ba78b7c35c42053a158abe8fb09eee44c43 292 291 2022-09-26T19:12:00Z Brwilson1 12 /* Education and Career */ wikitext text/x-wiki Gerrit Lansing was an American gay poet, editor, business owner, and professor who was born in Albany, New York in 1928 and passed away in Gloucester, Massachusetts in 2018.<ref>https://www.poetryfoundation.org/poets/gerrit-lansing</ref> ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts.<ref>https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/</ref> ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson <ref>https://www.poetryfoundation.org/harriet-books/2018/02/rip-gerrit-lansing-1928-2018</ref>. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts.<ref>https://archives.yale.edu/agents/people/97066</ref> He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018.<ref>https://www.poetryfoundation.org/harriet-books/2018/02/rip-gerrit-lansing-1928-2018</ref> ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book ''Heavenly Tree/Soluble Forest'' came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote ''Turning Leaves of Minds'', which is an art book. He then wrote ''A February Sheaf'' in 2003, which is a collection of different genres. His last book was ''Heavenly Tree, Northern Earth'' published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.”<ref>https://www.poetryfoundation.org/poets/gerrit-lansing</ref> ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. <ref>https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/</ref> Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure love and queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== https://www.poetryfoundation.org/collections/101691/queer-love-poems https://www.poetryfoundation.org/poets/gerrit-lansing https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/ https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/ https://archives.yale.edu/agents/people/97066 01df6f16fe0dc9284f870135ef5b47a0d1a760b8 293 292 2022-09-26T19:12:14Z Brwilson1 12 /* References */ wikitext text/x-wiki Gerrit Lansing was an American gay poet, editor, business owner, and professor who was born in Albany, New York in 1928 and passed away in Gloucester, Massachusetts in 2018.<ref>https://www.poetryfoundation.org/poets/gerrit-lansing</ref> ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. He is the son of Charles B. Lansing, an engineer consultant who later served as Chairman of the Western Reserve Unviersity board of trustees. During his time at university in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England. They spent their weekends sailing together. He passed away on February 11, 2018 in Gloucester, Massachusetts.<ref>https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/</ref> ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche who at one point hired him to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for Charles Olson <ref>https://www.poetryfoundation.org/harriet-books/2018/02/rip-gerrit-lansing-1928-2018</ref>. Using his interest in tarot, astrology, magic, and philosophy he opened his own bookstore, Abraxas in Massachusetts.<ref>https://archives.yale.edu/agents/people/97066</ref> He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018.<ref>https://www.poetryfoundation.org/harriet-books/2018/02/rip-gerrit-lansing-1928-2018</ref> ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book ''Heavenly Tree/Soluble Forest'' came out in 1995. In 2002 he worked on another project, slightly different from his last. Lansing, Nora Ligorano and Marshall Reese, wrote ''Turning Leaves of Minds'', which is an art book. He then wrote ''A February Sheaf'' in 2003, which is a collection of different genres. His last book was ''Heavenly Tree, Northern Earth'' published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.”<ref>https://www.poetryfoundation.org/poets/gerrit-lansing</ref> ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. <ref>https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/</ref> Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure love and queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== bc7a1a6eee4ee9325a1ab7cb349119a6f2619d9c 300 293 2022-09-26T19:28:15Z Brwilson1 12 wikitext text/x-wiki Gerrit Lansing was an American gay poet, editor, business owner, and professor who was born in Albany, New York in 1928 and passed away in Gloucester, Massachusetts in 2018.<ref>https://www.poetryfoundation.org/poets/gerrit-lansing</ref> ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. His father, Charles B. Lansing, worked as an engineer consultant, but later served as Chairman of the Western Reserve Unviersity board of trustees. This led to Gerrit moving to Ohio for a bit of time until he moved to attend college at Harvard. During his time at Columbia in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing of astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England so they spent their weekends sailing together and spending time in Florida. As partners, they moved to Massachusetts where Lansing passed away on February 11, 2018.<ref>https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/</ref> ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche. LaTouche hired Lansing to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for his friend Charles Olson <ref>https://www.poetryfoundation.org/harriet-books/2018/02/rip-gerrit-lansing-1928-2018</ref>. Charles Olson, who sparked Lansings interest in tarot and astrology, led to Lansing opening his own bookstore. Using his interest in tarot, astrology, magic, and philosophy he opened Abraxas Books in Massachusetts.<ref>https://archives.yale.edu/agents/people/97066</ref> He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018.<ref>https://www.poetryfoundation.org/harriet-books/2018/02/rip-gerrit-lansing-1928-2018</ref> ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book ''Heavenly Tree/Soluble Forest'' came out in 1995. In 2002 he worked on another project, slightly different from his last <ref>https://www.poetryfoundation.org/poets/gerrit-lansing</ref>. Lansing, along with Nora Ligorano and Marshall Reese, wrote ''Turning Leaves of Minds'', which is an art book including archives and photographs. Lansing wrote the poem that is included in the book <ref>https://library.louisville.edu/artists-books/turning-leaves-of-mind</ref>. He then wrote ''A February Sheaf'' in 2003, which is a collection of different genres. His last book was ''Heavenly Tree, Northern Earth'' published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.”<ref>https://www.poetryfoundation.org/poets/gerrit-lansing</ref> ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to other queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. <ref>https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/</ref> Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines.” Lansing’s poems showed a pure love and queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, not matter their age, and on those who have read his work. ==References== 9b74e6e6822d312c6899d55f93f031415d46ff25 0 37 268 219 2022-09-26T07:22:12Z Amanda.peter 13 wikitext text/x-wiki Compulsory heterosexuality (75487) == Arguments by Erin Rich == The lesbian experience is either deemed a deviant action against men or is completely forgotten because of the assumption that women are naturally attracted to men. Relationships between women are invalidated and hidden. The lesbian experience is not considered in writings, including feminist pieces that might lend themselves to such discussions. Therefore, “A feminist critique of compulsory heterosexual orientation for women is long overdue” (632). Even highly insightful feminist writings could be more accurate and powerful if they discussed the lesbian experience, but none of them question the compulsive nature of women’s heterosexuality. For Her Own Good: 150 Years of the Expert's Advice to Women (Barbara Ehrenreich & Deirdre English) posits that women have long been victims of medical treatments and prescriptions, especially in relation to capitalism and the patriarchal urge of men to control women. Even with this focus, the authors fail to look at the “basic prescription against lesbianism” (634) and the economic motivators for a heterosexual relationship. Toward a New Psychology of Women (Jean Barker Miller) wholly ignores the existence of lesbians. The Mermaid and the Minotaur: Sexual Arrangements and the Human Malaise (Dorothy Dinnerstein) claims that women and men must share duties revolving around childcare, positing that both share equal responsibility for creating this arrangement, ignoring the fact that women have been attempting to resist gendered oppression for many years and that some women don’t collaborate with men (witches, marriage resisters, spinsters, widows, lesbians, etc.). This female separatism (common to every culture) should be studied. Nancy Chodorow also finds that gender inequality stems from gendered aspects of childcare and that, because women raise children and create a deeper emotional bond with them, women become more emotionally important to men than men to women. She then says that women pursue limiting relationships with men for psychological and practical reasons, but there is little explanation of these practical reasons. Further, the lesbian experience is diminished by the view that relationships between two adult women do not foster the same emotional connection. Even though Chodorow appears to say that heterosexuality is not the natural female preference, her book frames it as a necessity. Heterosexuality should be “recognized and studied as a political institution” (637). If understanding that male and female children form their earliest emotional connections with their mothers, it seems that both should naturally seek love from women.* Therefore, we should ask - “why women would redirect that search” why actions related to human survival became so tied to emotional or erotic relationships “why such violent strictures should be found necessary to enforce women’s total emotional, erotic loyalty and subservience to men” *Rich doesn’t claim this as the reason for lesbian existence but thinks these popular conversations should consider these questions. Examining Kathleen Gough’s “characteristics of male power” - ​​1) men's ability to deny women [our own] sexuality 2) or to force it [male sexuality] upon them; 3) to command or exploit their labor 4) to control their produce; to control or rob them of their children; 5) to confine them physically and prevent their movement; 6) to use them as objects in male transactions; 7) to cramp their creativeness; 8) or to withhold from them large areas of the society's knowledge and cultural attainments. These power dynamics are manifested through both physical and psychological means, and each contributes to women’s assumptions that attraction to men is a natural preference, even if the relationship is not fulfilling. Clitoridectomies ensure that women won’t form sexual relationships with each other. Pornography pushes the boundaries of what is acceptable in heterosexual relationships (often control of and physical pain for women) while posing female-female relationships as “sick” or boring. == Am I a Lesbian? == Signs of Compulsory Heterosexuality: Attraction to men- Creating a list of impossible standards for men to meet before considering yourself attracted to them (and adding to the list if someone meets that standard) Becoming attracted to a man only after another female has expressed attraction to him Creating fantasies about being with a non-specific man, avoiding giving him any particular attributes and enjoying the fantasy less with the addition of new characteristics. Relationships with men- Thinking you have commitment issues because you don’t want to continue relationships, even if you should be happy in it Wishing your boyfriend was more like your female friends Sex and intimacy with men- Having sex not for the physical or emotional components but because you like feeling wanted Making an effort to fantasize about the man you’re “attracted” to Early interest in women Only recognizing past crushes on women after understanding your attraction to women. Feeling uncomfortable in areas/situations where female friends are less clothed than they normally would be around men The “straight” version of you- Thinking its a common experience for straight women to have some attraction to other women Being a strong LGBTQ+ ally and getting very emotional about homophobia Exploring attraction to women- Thinking you could live with a woman in a romantic relationship, even if you can’t picture a sexual relationship with them (or vice versa) Feeling excited when you and your girl friend are mistaken as a couple (but upset when you and a guy friend are assumed to be together) Gender feelings- Thinking that being gender-non-conforming means that you aren’t a woman, even if that’s what feels most accurate Experiencing dysphoria when it comes to the parts of you that straight men think are owed to them Considering lesbianism- Feeling guilty about identifying as a lesbian because you fear you might be “attention-seeking” Worrying that you can’t be a lesbian if you aren’t 100% certain you aren’t attracted to men == Compulsory Heterosexuality v Actual Attraction == Nervousness (blushing) Attraction: Getting nervous because you feel attracted to a man and hope that he feels the same too Compulsory Heterosexuality: Feeling nervous because a man is flirting with or attracted to you and blushing because you’re uncomfortable Hypothetical Attraction Attraction: Imagining a future with a man makes you feel happy, excited, hopeful, etc. Compulsory Heterosexuality: Imagining a future with a man makes you uncomfortable, sad, etc, and you don’t want to experience that future. Sexual Fantasies Attraction: You fantasize about men because you’re attracted to their bodies or specific men. Their physical qualities excite you, and the fantasies feel sexy. ‘ Compulsory Heterosexuality: fantasies about men feel like going through the motions. Their bodies or faces might be obscure or unfocused, and you feel uncomfortable with the idea of having sex with him. == Problems & Critiques == == References == <references/> 6931b5a70a0739205d0cdfea71f75018b4eb98d6 272 268 2022-09-26T16:27:50Z Amanda.peter 13 wikitext text/x-wiki Compulsory heterosexuality Compulsory heterosexuality was termed by Adrienne Rich in 1980 and now is commonly known in popular culture and social media as "comphet." The theory suggests that women are pressured to be in heterosexual relationships because of cultural ideas that women are inherently attracted to men, as well as other practical reasons (economic, reproductive, etc.). == Arguments by Adrienne Rich == Adrienne Rich coined the term "compulsory heterosexuality" in her essay [https://www.jstor.org/stable/pdf/3173834.pdf "Compulsory Heterosexuality and Lesbian Experience.]" Arguments of the essay follow- The lesbian experience is either deemed a deviant action against men or is completely forgotten because of the assumption that women are naturally attracted to men. Relationships between women are invalidated and hidden. The lesbian experience is not considered in writings, including feminist pieces that might lend themselves to such discussions. Therefore, “A feminist critique of compulsory heterosexual orientation for women is long overdue” (632). Even highly insightful feminist writings could be more accurate and powerful if they discussed the lesbian experience, but none of them question the compulsive nature of women’s heterosexuality. For Her Own Good: 150 Years of the Expert's Advice to Women (Barbara Ehrenreich & Deirdre English) posits that women have long been victims of medical treatments and prescriptions, especially in relation to capitalism and the patriarchal urge of men to control women. Even with this focus, the authors fail to look at the “basic prescription against lesbianism” (634) and the economic motivators for a heterosexual relationship. Toward a New Psychology of Women (Jean Barker Miller) wholly ignores the existence of lesbians. The Mermaid and the Minotaur: Sexual Arrangements and the Human Malaise (Dorothy Dinnerstein) claims that women and men must share duties revolving around childcare, positing that both share equal responsibility for creating this arrangement, ignoring the fact that women have been attempting to resist gendered oppression for many years and that some women don’t collaborate with men (witches, marriage resisters, spinsters, widows, lesbians, etc.). This female separatism (common to every culture) should be studied. Nancy Chodorow also finds that gender inequality stems from gendered aspects of childcare and that, because women raise children and create a deeper emotional bond with them, women become more emotionally important to men than men to women. She then says that women pursue limiting relationships with men for psychological and practical reasons, but there is little explanation of these practical reasons. Further, the lesbian experience is diminished by the view that relationships between two adult women do not foster the same emotional connection. Even though Chodorow appears to say that heterosexuality is not the natural female preference, her book frames it as a necessity. Heterosexuality should be “recognized and studied as a political institution” (637). If understanding that male and female children form their earliest emotional connections with their mothers, it seems that both should naturally seek love from women.* Therefore, we should ask - “why women would redirect that search” why actions related to human survival became so tied to emotional or erotic relationships “why such violent strictures should be found necessary to enforce women’s total emotional, erotic loyalty and subservience to men” *Rich doesn’t claim this as the reason for lesbian existence but thinks these popular conversations should consider these questions. Examining Kathleen Gough’s “characteristics of male power” - ​​1) men's ability to deny women [our own] sexuality 2) or to force it [male sexuality] upon them; 3) to command or exploit their labor 4) to control their produce; to control or rob them of their children; 5) to confine them physically and prevent their movement; 6) to use them as objects in male transactions; 7) to cramp their creativeness; 8) or to withhold from them large areas of the society's knowledge and cultural attainments. These power dynamics are manifested through both physical and psychological means, and each contributes to women’s assumptions that attraction to men is a natural preference, even if the relationship is not fulfilling. Clitoridectomies ensure that women won’t form sexual relationships with each other. Pornography pushes the boundaries of what is acceptable in heterosexual relationships (often control of and physical pain for women) while posing female-female relationships as “sick” or boring. == Am I a Lesbian? == Signs of Compulsory Heterosexuality: Attraction to men- Creating a list of impossible standards for men to meet before considering yourself attracted to them (and adding to the list if someone meets that standard) Becoming attracted to a man only after another female has expressed attraction to him Creating fantasies about being with a non-specific man, avoiding giving him any particular attributes and enjoying the fantasy less with the addition of new characteristics. Relationships with men- Thinking you have commitment issues because you don’t want to continue relationships, even if you should be happy in it Wishing your boyfriend was more like your female friends Sex and intimacy with men- Having sex not for the physical or emotional components but because you like feeling wanted Making an effort to fantasize about the man you’re “attracted” to Early interest in women Only recognizing past crushes on women after understanding your attraction to women. Feeling uncomfortable in areas/situations where female friends are less clothed than they normally would be around men The “straight” version of you- Thinking its a common experience for straight women to have some attraction to other women Being a strong LGBTQ+ ally and getting very emotional about homophobia Exploring attraction to women- Thinking you could live with a woman in a romantic relationship, even if you can’t picture a sexual relationship with them (or vice versa) Feeling excited when you and your girl friend are mistaken as a couple (but upset when you and a guy friend are assumed to be together) Gender feelings- Thinking that being gender-non-conforming means that you aren’t a woman, even if that’s what feels most accurate Experiencing dysphoria when it comes to the parts of you that straight men think are owed to them Considering lesbianism- Feeling guilty about identifying as a lesbian because you fear you might be “attention-seeking” Worrying that you can’t be a lesbian if you aren’t 100% certain you aren’t attracted to men == Compulsory Heterosexuality v Actual Attraction == Nervousness (blushing) Attraction: Getting nervous because you feel attracted to a man and hope that he feels the same too Compulsory Heterosexuality: Feeling nervous because a man is flirting with or attracted to you and blushing because you’re uncomfortable Hypothetical Attraction Attraction: Imagining a future with a man makes you feel happy, excited, hopeful, etc. Compulsory Heterosexuality: Imagining a future with a man makes you uncomfortable, sad, etc, and you don’t want to experience that future. Sexual Fantasies Attraction: You fantasize about men because you’re attracted to their bodies or specific men. Their physical qualities excite you, and the fantasies feel sexy. ‘ Compulsory Heterosexuality: fantasies about men feel like going through the motions. Their bodies or faces might be obscure or unfocused, and you feel uncomfortable with the idea of having sex with him. == Problems & Critiques == It seems obvious that one can experience a sign of "comphet" without being a lesbian. Just because you agree with some of the items listed doesn't necessarily mean you are attracted to women or not attracted to men. This theory and the related internet guides can be used as a tool for women questioning their sexuality, but these guides are not a determinant in any person's sexuality. Moreover, though heterosexuality may only be compulsory for some women, this may not be the case for all women, something not explicitly noted in most conversations of compulsory heterosexuality. Additionally, if one finds that she experiences attraction to women, it doesn't necessarily imply that she is a lesbian or exclusively attracted to women. Those discussing compulsory heterosexuality should consciously avoid bi-erasure. Likewise, they should work to avoid biphobia and validate the bi experience. While it is fine for bi women to question their sexuality, this theory suggests that the natural attraction is towards women and that attraction to men is compulsory. This might push common perceptions of bisexuality as not real or a "stepping stone." Finally, more examination could (should) be done on compulsive heterosexuality in men, as much of the theory revolves around stigma and impracticality of close female relationships, whereas men are often in close proximity to each other. Studies should also consider how queer gender identities are impacted by compulsory heterosexuality. == References == <references/> fca2c7e984deae40510faab86175272d37448c22 273 272 2022-09-26T16:29:54Z Amanda.peter 13 wikitext text/x-wiki Compulsory heterosexuality Compulsory heterosexuality was termed by Adrienne Rich in 1980 and now is commonly known in popular culture and social media as "comphet." The theory suggests that women are pressured to be in heterosexual relationships because of cultural ideas that women are inherently attracted to men, as well as other practical reasons (economic, reproductive, etc.). == Arguments by Adrienne Rich == Adrienne Rich coined the term "compulsory heterosexuality" in her essay ,<ref>[https://www.jstor.org/stable/pdf/3173834.pdf</ref> "Compulsory Heterosexuality and Lesbian Experience.]" Arguments of the essay follow- The lesbian experience is either deemed a deviant action against men or is completely forgotten because of the assumption that women are naturally attracted to men. Relationships between women are invalidated and hidden. The lesbian experience is not considered in writings, including feminist pieces that might lend themselves to such discussions. Therefore, “A feminist critique of compulsory heterosexual orientation for women is long overdue” (632). Even highly insightful feminist writings could be more accurate and powerful if they discussed the lesbian experience, but none of them question the compulsive nature of women’s heterosexuality. For Her Own Good: 150 Years of the Expert's Advice to Women (Barbara Ehrenreich & Deirdre English) posits that women have long been victims of medical treatments and prescriptions, especially in relation to capitalism and the patriarchal urge of men to control women. Even with this focus, the authors fail to look at the “basic prescription against lesbianism” (634) and the economic motivators for a heterosexual relationship. Toward a New Psychology of Women (Jean Barker Miller) wholly ignores the existence of lesbians. The Mermaid and the Minotaur: Sexual Arrangements and the Human Malaise (Dorothy Dinnerstein) claims that women and men must share duties revolving around childcare, positing that both share equal responsibility for creating this arrangement, ignoring the fact that women have been attempting to resist gendered oppression for many years and that some women don’t collaborate with men (witches, marriage resisters, spinsters, widows, lesbians, etc.). This female separatism (common to every culture) should be studied. Nancy Chodorow also finds that gender inequality stems from gendered aspects of childcare and that, because women raise children and create a deeper emotional bond with them, women become more emotionally important to men than men to women. She then says that women pursue limiting relationships with men for psychological and practical reasons, but there is little explanation of these practical reasons. Further, the lesbian experience is diminished by the view that relationships between two adult women do not foster the same emotional connection. Even though Chodorow appears to say that heterosexuality is not the natural female preference, her book frames it as a necessity. Heterosexuality should be “recognized and studied as a political institution” (637). If understanding that male and female children form their earliest emotional connections with their mothers, it seems that both should naturally seek love from women.* Therefore, we should ask - “why women would redirect that search” why actions related to human survival became so tied to emotional or erotic relationships “why such violent strictures should be found necessary to enforce women’s total emotional, erotic loyalty and subservience to men” *Rich doesn’t claim this as the reason for lesbian existence but thinks these popular conversations should consider these questions. Examining Kathleen Gough’s “characteristics of male power” - ​​1) men's ability to deny women [our own] sexuality 2) or to force it [male sexuality] upon them; 3) to command or exploit their labor 4) to control their produce; to control or rob them of their children; 5) to confine them physically and prevent their movement; 6) to use them as objects in male transactions; 7) to cramp their creativeness; 8) or to withhold from them large areas of the society's knowledge and cultural attainments. These power dynamics are manifested through both physical and psychological means, and each contributes to women’s assumptions that attraction to men is a natural preference, even if the relationship is not fulfilling. Clitoridectomies ensure that women won’t form sexual relationships with each other. Pornography pushes the boundaries of what is acceptable in heterosexual relationships (often control of and physical pain for women) while posing female-female relationships as “sick” or boring. == Am I a Lesbian? == Signs of Compulsory Heterosexuality: Attraction to men- Creating a list of impossible standards for men to meet before considering yourself attracted to them (and adding to the list if someone meets that standard) Becoming attracted to a man only after another female has expressed attraction to him Creating fantasies about being with a non-specific man, avoiding giving him any particular attributes and enjoying the fantasy less with the addition of new characteristics. Relationships with men- Thinking you have commitment issues because you don’t want to continue relationships, even if you should be happy in it Wishing your boyfriend was more like your female friends Sex and intimacy with men- Having sex not for the physical or emotional components but because you like feeling wanted Making an effort to fantasize about the man you’re “attracted” to Early interest in women Only recognizing past crushes on women after understanding your attraction to women. Feeling uncomfortable in areas/situations where female friends are less clothed than they normally would be around men The “straight” version of you- Thinking its a common experience for straight women to have some attraction to other women Being a strong LGBTQ+ ally and getting very emotional about homophobia Exploring attraction to women- Thinking you could live with a woman in a romantic relationship, even if you can’t picture a sexual relationship with them (or vice versa) Feeling excited when you and your girl friend are mistaken as a couple (but upset when you and a guy friend are assumed to be together) Gender feelings- Thinking that being gender-non-conforming means that you aren’t a woman, even if that’s what feels most accurate Experiencing dysphoria when it comes to the parts of you that straight men think are owed to them Considering lesbianism- Feeling guilty about identifying as a lesbian because you fear you might be “attention-seeking” Worrying that you can’t be a lesbian if you aren’t 100% certain you aren’t attracted to men == Compulsory Heterosexuality v Actual Attraction == Nervousness (blushing) Attraction: Getting nervous because you feel attracted to a man and hope that he feels the same too Compulsory Heterosexuality: Feeling nervous because a man is flirting with or attracted to you and blushing because you’re uncomfortable Hypothetical Attraction Attraction: Imagining a future with a man makes you feel happy, excited, hopeful, etc. Compulsory Heterosexuality: Imagining a future with a man makes you uncomfortable, sad, etc, and you don’t want to experience that future. Sexual Fantasies Attraction: You fantasize about men because you’re attracted to their bodies or specific men. Their physical qualities excite you, and the fantasies feel sexy. ‘ Compulsory Heterosexuality: fantasies about men feel like going through the motions. Their bodies or faces might be obscure or unfocused, and you feel uncomfortable with the idea of having sex with him. == Problems & Critiques == It seems obvious that one can experience a sign of "comphet" without being a lesbian. Just because you agree with some of the items listed doesn't necessarily mean you are attracted to women or not attracted to men. This theory and the related internet guides can be used as a tool for women questioning their sexuality, but these guides are not a determinant in any person's sexuality. Moreover, though heterosexuality may only be compulsory for some women, this may not be the case for all women, something not explicitly noted in most conversations of compulsory heterosexuality. Additionally, if one finds that she experiences attraction to women, it doesn't necessarily imply that she is a lesbian or exclusively attracted to women. Those discussing compulsory heterosexuality should consciously avoid bi-erasure. Likewise, they should work to avoid biphobia and validate the bi experience. While it is fine for bi women to question their sexuality, this theory suggests that the natural attraction is towards women and that attraction to men is compulsory. This might push common perceptions of bisexuality as not real or a "stepping stone." Finally, more examination could (should) be done on compulsive heterosexuality in men, as much of the theory revolves around stigma and impracticality of close female relationships, whereas men are often in close proximity to each other. Studies should also consider how queer gender identities are impacted by compulsory heterosexuality. == References == <references/> 3e2a464d9c8e8d9dcb6d8cbe7711e373bc3042a1 274 273 2022-09-26T16:35:01Z Amanda.peter 13 wikitext text/x-wiki Compulsory heterosexuality Compulsory heterosexuality was termed by Adrienne Rich in 1980 and now is commonly known in popular culture and social media as "comphet." The theory suggests that women are pressured to be in heterosexual relationships because of cultural ideas that women are inherently attracted to men, as well as other practical reasons (economic, reproductive, etc.). == Arguments by Adrienne Rich == Adrienne Rich coined the term "compulsory heterosexuality" in her essay ,<ref>[https://www.jstor.org/stable/pdf/3173834.pdf</ref> "Compulsory Heterosexuality and Lesbian Experience.]" Arguments of the essay follow- The lesbian experience is either deemed a deviant action against men or is completely forgotten because of the assumption that women are naturally attracted to men. Relationships between women are invalidated and hidden. The lesbian experience is not considered in writings, including feminist pieces that might lend themselves to such discussions. Therefore, “A feminist critique of compulsory heterosexual orientation for women is long overdue” (632). Even highly insightful feminist writings could be more accurate and powerful if they discussed the lesbian experience, but none of them question the compulsive nature of women’s heterosexuality. For Her Own Good: 150 Years of the Expert's Advice to Women (Barbara Ehrenreich & Deirdre English) posits that women have long been victims of medical treatments and prescriptions, especially in relation to capitalism and the patriarchal urge of men to control women. Even with this focus, the authors fail to look at the “basic prescription against lesbianism” (634) and the economic motivators for a heterosexual relationship. Toward a New Psychology of Women (Jean Barker Miller) wholly ignores the existence of lesbians. The Mermaid and the Minotaur: Sexual Arrangements and the Human Malaise (Dorothy Dinnerstein) claims that women and men must share duties revolving around childcare, positing that both share equal responsibility for creating this arrangement, ignoring the fact that women have been attempting to resist gendered oppression for many years and that some women don’t collaborate with men (witches, marriage resisters, spinsters, widows, lesbians, etc.). This female separatism (common to every culture) should be studied. Nancy Chodorow also finds that gender inequality stems from gendered aspects of childcare and that, because women raise children and create a deeper emotional bond with them, women become more emotionally important to men than men to women. She then says that women pursue limiting relationships with men for psychological and practical reasons, but there is little explanation of these practical reasons. Further, the lesbian experience is diminished by the view that relationships between two adult women do not foster the same emotional connection. Even though Chodorow appears to say that heterosexuality is not the natural female preference, her book frames it as a necessity. Heterosexuality should be “recognized and studied as a political institution” (637). If understanding that male and female children form their earliest emotional connections with their mothers, it seems that both should naturally seek love from women.* Therefore, we should ask - “why women would redirect that search” why actions related to human survival became so tied to emotional or erotic relationships “why such violent strictures should be found necessary to enforce women’s total emotional, erotic loyalty and subservience to men” *Rich doesn’t claim this as the reason for lesbian existence but thinks these popular conversations should consider these questions. Examining Kathleen Gough’s “characteristics of male power” - ​​1) men's ability to deny women [our own] sexuality 2) or to force it [male sexuality] upon them; 3) to command or exploit their labor 4) to control their produce; to control or rob them of their children; 5) to confine them physically and prevent their movement; 6) to use them as objects in male transactions; 7) to cramp their creativeness; 8) or to withhold from them large areas of the society's knowledge and cultural attainments. These power dynamics are manifested through both physical and psychological means, and each contributes to women’s assumptions that attraction to men is a natural preference, even if the relationship is not fulfilling. Clitoridectomies ensure that women won’t form sexual relationships with each other. Pornography pushes the boundaries of what is acceptable in heterosexual relationships (often control of and physical pain for women) while posing female-female relationships as “sick” or boring. == Am I a Lesbian? == In response to the discussion of compulsory heterosexuality, the master doc titled <ref>[https://heystacks.com/doc/308/copy-of-am-i-a-lesbian-masterdoc "Am I a Lesbian?"]</ref> was created to help women consider their sexuality. The document explains compulsory heterosexuality, lists common lesbian experiences, and explains misconceptions about sexuality. Signs of Compulsory Heterosexuality: Attraction to men- Creating a list of impossible standards for men to meet before considering yourself attracted to them (and adding to the list if someone meets that standard) Becoming attracted to a man only after another female has expressed attraction to him Creating fantasies about being with a non-specific man, avoiding giving him any particular attributes and enjoying the fantasy less with the addition of new characteristics. Relationships with men- Thinking you have commitment issues because you don’t want to continue relationships, even if you should be happy in it Wishing your boyfriend was more like your female friends Sex and intimacy with men- Having sex not for the physical or emotional components but because you like feeling wanted Making an effort to fantasize about the man you’re “attracted” to Early interest in women Only recognizing past crushes on women after understanding your attraction to women. Feeling uncomfortable in areas/situations where female friends are less clothed than they normally would be around men The “straight” version of you- Thinking its a common experience for straight women to have some attraction to other women Being a strong LGBTQ+ ally and getting very emotional about homophobia Exploring attraction to women- Thinking you could live with a woman in a romantic relationship, even if you can’t picture a sexual relationship with them (or vice versa) Feeling excited when you and your girl friend are mistaken as a couple (but upset when you and a guy friend are assumed to be together) Gender feelings- Thinking that being gender-non-conforming means that you aren’t a woman, even if that’s what feels most accurate Experiencing dysphoria when it comes to the parts of you that straight men think are owed to them Considering lesbianism- Feeling guilty about identifying as a lesbian because you fear you might be “attention-seeking” Worrying that you can’t be a lesbian if you aren’t 100% certain you aren’t attracted to men == Compulsory Heterosexuality v Actual Attraction == Nervousness (blushing) Attraction: Getting nervous because you feel attracted to a man and hope that he feels the same too Compulsory Heterosexuality: Feeling nervous because a man is flirting with or attracted to you and blushing because you’re uncomfortable Hypothetical Attraction Attraction: Imagining a future with a man makes you feel happy, excited, hopeful, etc. Compulsory Heterosexuality: Imagining a future with a man makes you uncomfortable, sad, etc, and you don’t want to experience that future. Sexual Fantasies Attraction: You fantasize about men because you’re attracted to their bodies or specific men. Their physical qualities excite you, and the fantasies feel sexy. ‘ Compulsory Heterosexuality: fantasies about men feel like going through the motions. Their bodies or faces might be obscure or unfocused, and you feel uncomfortable with the idea of having sex with him. == Problems & Critiques == It seems obvious that one can experience a sign of "comphet" without being a lesbian. Just because you agree with some of the items listed doesn't necessarily mean you are attracted to women or not attracted to men. This theory and the related internet guides can be used as a tool for women questioning their sexuality, but these guides are not a determinant in any person's sexuality. Moreover, though heterosexuality may only be compulsory for some women, this may not be the case for all women, something not explicitly noted in most conversations of compulsory heterosexuality. Additionally, if one finds that she experiences attraction to women, it doesn't necessarily imply that she is a lesbian or exclusively attracted to women. Those discussing compulsory heterosexuality should consciously avoid bi-erasure. Likewise, they should work to avoid biphobia and validate the bi experience. While it is fine for bi women to question their sexuality, this theory suggests that the natural attraction is towards women and that attraction to men is compulsory. This might push common perceptions of bisexuality as not real or a "stepping stone." Finally, more examination could (should) be done on compulsive heterosexuality in men, as much of the theory revolves around stigma and impracticality of close female relationships, whereas men are often in close proximity to each other. Studies should also consider how queer gender identities are impacted by compulsory heterosexuality. == References == <references/> 33fd70836e1ba0611c2ca2a74c630b6bc368052f 275 274 2022-09-26T16:36:17Z Amanda.peter 13 wikitext text/x-wiki Compulsory heterosexuality Compulsory heterosexuality was termed by Adrienne Rich in 1980 and now is commonly known in popular culture and social media as "comphet." The theory suggests that women are pressured to be in heterosexual relationships because of cultural ideas that women are inherently attracted to men, as well as other practical reasons (economic, reproductive, etc.). == Arguments by Adrienne Rich == Adrienne Rich coined the term "compulsory heterosexuality" in her essay ,<ref>[https://www.jstor.org/stable/pdf/3173834.pdf</ref> "Compulsory Heterosexuality and Lesbian Experience.]" Arguments of the essay follow- The lesbian experience is either deemed a deviant action against men or is completely forgotten because of the assumption that women are naturally attracted to men. Relationships between women are invalidated and hidden. The lesbian experience is not considered in writings, including feminist pieces that might lend themselves to such discussions. Therefore, “A feminist critique of compulsory heterosexual orientation for women is long overdue” (632). Even highly insightful feminist writings could be more accurate and powerful if they discussed the lesbian experience, but none of them question the compulsive nature of women’s heterosexuality. For Her Own Good: 150 Years of the Expert's Advice to Women (Barbara Ehrenreich & Deirdre English) posits that women have long been victims of medical treatments and prescriptions, especially in relation to capitalism and the patriarchal urge of men to control women. Even with this focus, the authors fail to look at the “basic prescription against lesbianism” (634) and the economic motivators for a heterosexual relationship. Toward a New Psychology of Women (Jean Barker Miller) wholly ignores the existence of lesbians. The Mermaid and the Minotaur: Sexual Arrangements and the Human Malaise (Dorothy Dinnerstein) claims that women and men must share duties revolving around childcare, positing that both share equal responsibility for creating this arrangement, ignoring the fact that women have been attempting to resist gendered oppression for many years and that some women don’t collaborate with men (witches, marriage resisters, spinsters, widows, lesbians, etc.). This female separatism (common to every culture) should be studied. Nancy Chodorow also finds that gender inequality stems from gendered aspects of childcare and that, because women raise children and create a deeper emotional bond with them, women become more emotionally important to men than men to women. She then says that women pursue limiting relationships with men for psychological and practical reasons, but there is little explanation of these practical reasons. Further, the lesbian experience is diminished by the view that relationships between two adult women do not foster the same emotional connection. Even though Chodorow appears to say that heterosexuality is not the natural female preference, her book frames it as a necessity. Heterosexuality should be “recognized and studied as a political institution” (637). If understanding that male and female children form their earliest emotional connections with their mothers, it seems that both should naturally seek love from women.* Therefore, we should ask - “why women would redirect that search” why actions related to human survival became so tied to emotional or erotic relationships “why such violent strictures should be found necessary to enforce women’s total emotional, erotic loyalty and subservience to men” *Rich doesn’t claim this as the reason for lesbian existence but thinks these popular conversations should consider these questions. Examining Kathleen Gough’s “characteristics of male power” - ​​1) men's ability to deny women [our own] sexuality 2) or to force it [male sexuality] upon them; 3) to command or exploit their labor 4) to control their produce; to control or rob them of their children; 5) to confine them physically and prevent their movement; 6) to use them as objects in male transactions; 7) to cramp their creativeness; 8) or to withhold from them large areas of the society's knowledge and cultural attainments. These power dynamics are manifested through both physical and psychological means, and each contributes to women’s assumptions that attraction to men is a natural preference, even if the relationship is not fulfilling. Clitoridectomies ensure that women won’t form sexual relationships with each other. Pornography pushes the boundaries of what is acceptable in heterosexual relationships (often control of and physical pain for women) while posing female-female relationships as “sick” or boring. == Am I a Lesbian? == In response to the discussion of compulsory heterosexuality, the master doc titled <ref>[https://heystacks.com/doc/308/copy-of-am-i-a-lesbian-masterdoc]</ref> "Am I a Lesbian?" was created to help women consider their sexuality. The document explains compulsory heterosexuality, lists common lesbian experiences, and explains misconceptions about sexuality. Signs of Compulsory Heterosexuality: Attraction to men- Creating a list of impossible standards for men to meet before considering yourself attracted to them (and adding to the list if someone meets that standard) Becoming attracted to a man only after another female has expressed attraction to him Creating fantasies about being with a non-specific man, avoiding giving him any particular attributes and enjoying the fantasy less with the addition of new characteristics. Relationships with men- Thinking you have commitment issues because you don’t want to continue relationships, even if you should be happy in it Wishing your boyfriend was more like your female friends Sex and intimacy with men- Having sex not for the physical or emotional components but because you like feeling wanted Making an effort to fantasize about the man you’re “attracted” to Early interest in women Only recognizing past crushes on women after understanding your attraction to women. Feeling uncomfortable in areas/situations where female friends are less clothed than they normally would be around men The “straight” version of you- Thinking its a common experience for straight women to have some attraction to other women Being a strong LGBTQ+ ally and getting very emotional about homophobia Exploring attraction to women- Thinking you could live with a woman in a romantic relationship, even if you can’t picture a sexual relationship with them (or vice versa) Feeling excited when you and your girl friend are mistaken as a couple (but upset when you and a guy friend are assumed to be together) Gender feelings- Thinking that being gender-non-conforming means that you aren’t a woman, even if that’s what feels most accurate Experiencing dysphoria when it comes to the parts of you that straight men think are owed to them Considering lesbianism- Feeling guilty about identifying as a lesbian because you fear you might be “attention-seeking” Worrying that you can’t be a lesbian if you aren’t 100% certain you aren’t attracted to men == Compulsory Heterosexuality v Actual Attraction == Nervousness (blushing) Attraction: Getting nervous because you feel attracted to a man and hope that he feels the same too Compulsory Heterosexuality: Feeling nervous because a man is flirting with or attracted to you and blushing because you’re uncomfortable Hypothetical Attraction Attraction: Imagining a future with a man makes you feel happy, excited, hopeful, etc. Compulsory Heterosexuality: Imagining a future with a man makes you uncomfortable, sad, etc, and you don’t want to experience that future. Sexual Fantasies Attraction: You fantasize about men because you’re attracted to their bodies or specific men. Their physical qualities excite you, and the fantasies feel sexy. ‘ Compulsory Heterosexuality: fantasies about men feel like going through the motions. Their bodies or faces might be obscure or unfocused, and you feel uncomfortable with the idea of having sex with him. == Problems & Critiques == It seems obvious that one can experience a sign of "comphet" without being a lesbian. Just because you agree with some of the items listed doesn't necessarily mean you are attracted to women or not attracted to men. This theory and the related internet guides can be used as a tool for women questioning their sexuality, but these guides are not a determinant in any person's sexuality. Moreover, though heterosexuality may only be compulsory for some women, this may not be the case for all women, something not explicitly noted in most conversations of compulsory heterosexuality. Additionally, if one finds that she experiences attraction to women, it doesn't necessarily imply that she is a lesbian or exclusively attracted to women. Those discussing compulsory heterosexuality should consciously avoid bi-erasure. Likewise, they should work to avoid biphobia and validate the bi experience. While it is fine for bi women to question their sexuality, this theory suggests that the natural attraction is towards women and that attraction to men is compulsory. This might push common perceptions of bisexuality as not real or a "stepping stone." Finally, more examination could (should) be done on compulsive heterosexuality in men, as much of the theory revolves around stigma and impracticality of close female relationships, whereas men are often in close proximity to each other. Studies should also consider how queer gender identities are impacted by compulsory heterosexuality. == References == <references/> a2916c2c1ec4e23a0d7b8f9f7b562853b3371902 276 275 2022-09-26T16:37:17Z Amanda.peter 13 wikitext text/x-wiki Compulsory heterosexuality Compulsory heterosexuality was termed by Adrienne Rich in 1980 and now is commonly known in popular culture and social media as "comphet." The theory suggests that women are pressured to be in heterosexual relationships because of cultural ideas that women are inherently attracted to men, as well as other practical reasons (economic, reproductive, etc.). == Arguments by Adrienne Rich == Adrienne Rich coined the term "compulsory heterosexuality" in her essay ,<ref>[https://www.jstor.org/stable/pdf/3173834.pdf</ref> "Compulsory Heterosexuality and Lesbian Experience.]" Arguments of the essay follow- The lesbian experience is either deemed a deviant action against men or is completely forgotten because of the assumption that women are naturally attracted to men. Relationships between women are invalidated and hidden. The lesbian experience is not considered in writings, including feminist pieces that might lend themselves to such discussions. Therefore, “A feminist critique of compulsory heterosexual orientation for women is long overdue” (632). Even highly insightful feminist writings could be more accurate and powerful if they discussed the lesbian experience, but none of them question the compulsive nature of women’s heterosexuality. For Her Own Good: 150 Years of the Expert's Advice to Women (Barbara Ehrenreich & Deirdre English) posits that women have long been victims of medical treatments and prescriptions, especially in relation to capitalism and the patriarchal urge of men to control women. Even with this focus, the authors fail to look at the “basic prescription against lesbianism” (634) and the economic motivators for a heterosexual relationship. Toward a New Psychology of Women (Jean Barker Miller) wholly ignores the existence of lesbians. The Mermaid and the Minotaur: Sexual Arrangements and the Human Malaise (Dorothy Dinnerstein) claims that women and men must share duties revolving around childcare, positing that both share equal responsibility for creating this arrangement, ignoring the fact that women have been attempting to resist gendered oppression for many years and that some women don’t collaborate with men (witches, marriage resisters, spinsters, widows, lesbians, etc.). This female separatism (common to every culture) should be studied. Nancy Chodorow also finds that gender inequality stems from gendered aspects of childcare and that, because women raise children and create a deeper emotional bond with them, women become more emotionally important to men than men to women. She then says that women pursue limiting relationships with men for psychological and practical reasons, but there is little explanation of these practical reasons. Further, the lesbian experience is diminished by the view that relationships between two adult women do not foster the same emotional connection. Even though Chodorow appears to say that heterosexuality is not the natural female preference, her book frames it as a necessity. Heterosexuality should be “recognized and studied as a political institution” (637). If understanding that male and female children form their earliest emotional connections with their mothers, it seems that both should naturally seek love from women.* Therefore, we should ask - “why women would redirect that search” why actions related to human survival became so tied to emotional or erotic relationships “why such violent strictures should be found necessary to enforce women’s total emotional, erotic loyalty and subservience to men” *Rich doesn’t claim this as the reason for lesbian existence but thinks these popular conversations should consider these questions. Examining Kathleen Gough’s “characteristics of male power” - ​​1) men's ability to deny women [our own] sexuality 2) or to force it [male sexuality] upon them; 3) to command or exploit their labor 4) to control their produce; to control or rob them of their children; 5) to confine them physically and prevent their movement; 6) to use them as objects in male transactions; 7) to cramp their creativeness; 8) or to withhold from them large areas of the society's knowledge and cultural attainments. These power dynamics are manifested through both physical and psychological means, and each contributes to women’s assumptions that attraction to men is a natural preference, even if the relationship is not fulfilling. Clitoridectomies ensure that women won’t form sexual relationships with each other. Pornography pushes the boundaries of what is acceptable in heterosexual relationships (often control of and physical pain for women) while posing female-female relationships as “sick” or boring. == Am I a Lesbian? == In response to the discussion of compulsory heterosexuality, the master doc titled <ref>[https://heystacks.com/doc/308/copy-of-am-i-a-lesbian-masterdoc</ref> "Am I a Lesbian?"] was created to help women consider their sexuality. The document explains compulsory heterosexuality, lists common lesbian experiences, and explains misconceptions about sexuality. Signs of Compulsory Heterosexuality: Attraction to men- Creating a list of impossible standards for men to meet before considering yourself attracted to them (and adding to the list if someone meets that standard) Becoming attracted to a man only after another female has expressed attraction to him Creating fantasies about being with a non-specific man, avoiding giving him any particular attributes and enjoying the fantasy less with the addition of new characteristics. Relationships with men- Thinking you have commitment issues because you don’t want to continue relationships, even if you should be happy in it Wishing your boyfriend was more like your female friends Sex and intimacy with men- Having sex not for the physical or emotional components but because you like feeling wanted Making an effort to fantasize about the man you’re “attracted” to Early interest in women Only recognizing past crushes on women after understanding your attraction to women. Feeling uncomfortable in areas/situations where female friends are less clothed than they normally would be around men The “straight” version of you- Thinking its a common experience for straight women to have some attraction to other women Being a strong LGBTQ+ ally and getting very emotional about homophobia Exploring attraction to women- Thinking you could live with a woman in a romantic relationship, even if you can’t picture a sexual relationship with them (or vice versa) Feeling excited when you and your girl friend are mistaken as a couple (but upset when you and a guy friend are assumed to be together) Gender feelings- Thinking that being gender-non-conforming means that you aren’t a woman, even if that’s what feels most accurate Experiencing dysphoria when it comes to the parts of you that straight men think are owed to them Considering lesbianism- Feeling guilty about identifying as a lesbian because you fear you might be “attention-seeking” Worrying that you can’t be a lesbian if you aren’t 100% certain you aren’t attracted to men == Compulsory Heterosexuality v Actual Attraction == Nervousness (blushing) Attraction: Getting nervous because you feel attracted to a man and hope that he feels the same too Compulsory Heterosexuality: Feeling nervous because a man is flirting with or attracted to you and blushing because you’re uncomfortable Hypothetical Attraction Attraction: Imagining a future with a man makes you feel happy, excited, hopeful, etc. Compulsory Heterosexuality: Imagining a future with a man makes you uncomfortable, sad, etc, and you don’t want to experience that future. Sexual Fantasies Attraction: You fantasize about men because you’re attracted to their bodies or specific men. Their physical qualities excite you, and the fantasies feel sexy. ‘ Compulsory Heterosexuality: fantasies about men feel like going through the motions. Their bodies or faces might be obscure or unfocused, and you feel uncomfortable with the idea of having sex with him. == Problems & Critiques == It seems obvious that one can experience a sign of "comphet" without being a lesbian. Just because you agree with some of the items listed doesn't necessarily mean you are attracted to women or not attracted to men. This theory and the related internet guides can be used as a tool for women questioning their sexuality, but these guides are not a determinant in any person's sexuality. Moreover, though heterosexuality may only be compulsory for some women, this may not be the case for all women, something not explicitly noted in most conversations of compulsory heterosexuality. Additionally, if one finds that she experiences attraction to women, it doesn't necessarily imply that she is a lesbian or exclusively attracted to women. Those discussing compulsory heterosexuality should consciously avoid bi-erasure. Likewise, they should work to avoid biphobia and validate the bi experience. While it is fine for bi women to question their sexuality, this theory suggests that the natural attraction is towards women and that attraction to men is compulsory. This might push common perceptions of bisexuality as not real or a "stepping stone." Finally, more examination could (should) be done on compulsive heterosexuality in men, as much of the theory revolves around stigma and impracticality of close female relationships, whereas men are often in close proximity to each other. Studies should also consider how queer gender identities are impacted by compulsory heterosexuality. == References == <references/> 9f9fa15a31f810432e50d54285bbfc18bc16a22b 0 35 269 217 2022-09-26T14:14:16Z Sofun 15 /* About */ wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == History == == Stories == == Events == == Photos == == References == <references/> 3cc846bf2cb078fa9d963a39a8d4de381ced4ea4 270 269 2022-09-26T15:31:20Z Sofun 15 /* Stories */ wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == History == == Stories == I did an internship with this organization. While I was working with the organization, I changed two individuals' oral stories into written ones. One of the individuals I worked with was Pamela Curry. She is an individual who brought the financial side of AIDS to light. Pamela Curry; Pamela Curry is a trans woman but also an activist within her community. Her story begins with a crisis of faith and ends with Pamela holding the first Transgender Day of Remembrance (TDOR) in Dallas, Texas through the Cathedral of Hope. She grew up believing in the Catholic religion. However, when she was sitting in a lecture, she noticed this crisis of faith even though she had been struggling with her identity for a long time. Pamela knew it was Satan but it did not matter how many rosaries she said; the feeling did not go away. Pamela returned back to the Dallas area in 2001 after spending fourteen months in Austin trying to escape a bad relationship. This relationship was filled with alcoholism and abuse. While in Austin, she started going to church again and had her first meeting with an organization called Act Now, a national initiative that supports community groups and organizations working together to reimagine what their communities can become. At this meeting, she was told by a man that the organization did not need “her nor her kind”. When she returned to Dallas, she began attending Cathedral of Hope, which is the largest LGBTQ serving church in the world (https://cathedralofhope.com). Pamela started to get involved even though she was hesitant since she had never attended a church of this size. In November of 2001, Pamela was talking to a friend in an American Online trans chat room. This friend, who had been one of the so-called “Screaming Queens” at the Compton’s Cafeteria riots in 1966 San Francisco, introduced Pamela to Transgender Day of Remembrance, an internatinal event held annually in November to remember and memorialize thise who are killed by anti-trans violence. Shortly after this conversation, another friend of Pamela’s who lived in Houston prompted Pamela: “You’ve got that big, beatuiful church in Dallas, how come there is not Transgender Day of Remembrance?” As a new member who did not know anybody, Pamela knew she could not make it happen that year but she committed to making it happen the following year. Pamela approached an individual at the church named Linda Freeman. She told Linda she needed to make this happen but how did she do it and who did she need to talk to? Linda suggested that Pamela talked to Reverend Mona West. Pamela asked Linda to accompany her to the meeting since she did not know Reverend West. After making the meeting and giving the pitch, Reverend West agreed they needed to make this day happen. On November 24. 2002, as a result of Pamela Curry’s advocacy and action, Cathedral of Hope hosted Dallas’s first ever Transgender Day of Remembrance. 2002 was a busy year for Pamela and her community. This was the year that Sesame Workshop, the non-profit that produces the show Sesame Street, announced they were bringing a new Muppet to their South African show, Takalani Sesame: an HIV+ muppet named Kami. This character was meant to destigmatize HIV in a region that was being decimated by AIDS. The Republican party during this time signed off on the attack of Kami which is where Pamela started her activist campaign. She wrote every Republican a letter who signed off on the attack. She also sent the same copies of the letter to PBS, Public Broadcasting Service, and Sesame Workshop. Shortly after these letters, she received a call from POZ Magazine. POZ Magazine is a magazine that shares the lives of people affected by HIV/AIDS; they also share daily news, treatment options, forums. blogs, personals. Her article appeared in POZ magazine in October of 2002 titled “Mup Roar” which started with “Did she get it from Gover? We may never find out” (https://www.poz.com/article/Mup-Roar-976-7363). News of this Muppet caused a week-long uproar, in July, in the United States. The United States Sesame Workshop announced they would not be debuting this Muppet but PBS, Pat Mitchell, said he would not permanently rule out how to tell the Muppet to get on Sesame Street. HIV positive parents in the US such as Pamela Curry of Dallas, Texas called this move to be nothing but an attempt of tactical strong-arm censorship. The article Pamela wrote for POZ magazine was her first actual action for HIV advocacy and it was defending a Muppet. A couple of months after the first TDOR Pamela got invited to a meeting at HHS which is now the AIDS Coalition of Texas. She got invited because of her article on the Muppet. Compared to her last meeting where she was told they did not need her kind, at this meeting, Pamela was told by the brother of the founder that they needed everybody so she got on the bus. In January 2003, she headed to this meeting with a poster. With this poster, Pamela gave her speech. “My name is Pamela Curry, I am a forty-five year old transsexual female, a resident of the city and county of Dallas in addition to being uh well diagnosed with HIV in 97. I’m an active member of the Cathedral of Hope, the Dallas Transgender Alliance, and I want to thank Act Now for providing the means for me to be here today. We cannot afford cuts to the Texas HIV medication program. I hope you like the visual aids provided by many of the previous speakers...” Her speech continued with information about her financials with the costs of needed medications. She explained that her social security check in 2003 was a thousand four dollars and at Tom Thumb right down the street the AZT medication was one hundred and twenty-two dollars a month, her generics was three hundred and fifty dollars a month, her norvir was one hundred and twenty-eight, my ziongin was four hundred and four. With those costs, her medications already surpassed her check. The listed expenses did not include a place to live or food to eat. Before her speech, all of the news media left then reentered during. They thought all of the individuals worth taking pictures of had already gone but they captured a photo of her holding her poster. Almost every newspaper in the state had her picture on the front page and the next week she was on the front page of The Dallas Morning News. A couple of weeks after the articles she got a call asking to be a regional coordinator for ACT NOW. Pamela still received a lot of pushback in her position because they believed they did not need her “kind”. The same man from Fort Worth that told her they did not need her kind in 1999 was upset because she went over him in position, authority, and pay. Eventually, the hostility from leadership became enough and it brought her to quit. Then she received a phone call from the executive director, legislative coordinator who replaced the individual with an alcohol problem, three days later that they wanted to take her out to eat where they asked for her back. She apologized and said that she could not because she had someone in Fort Worth who would not even work for her so they created her a new position but there was still a problem. The executive director had a drug problem that led him to be fired in 2004. On January 8th, 2005, she was at a meeting at the Marriott Hotel with Reverend Culberson, Mr. Lorenzo Sia’s -a pharmaceutical representative -from El Paso, and Dr. Amid from Houston where they created a new organization. While they were speaking about a budget, someone called them from Houston and told them they needed a capital day event but they had to change their name. They had their event, Transgender Day of Remembrance, so they changed their name to Texas Age Advocacy Coalition. Articles on the majority of all past and present TDOR events can be found on https://dallasvoice.com. In 2004, Pamela was in a patient advocacy summit in Philadelphia. They interviewed her with the question, “Why do you advocate for people?” She replied with, “It’s simple. The same reason I help anybody is because someday I may be too weak, too sick, too ill to speak for myself.” When Pamela helps any of her sisters with a document for name change, gender marker change, or anything when they always come back and ask how they could thank her. Pamela tells and encourages all to empower and help someone else! == Events == == Photos == == References == <references/> 4468240bd6eab5e8ae51cbeaea127543dd567c49 271 270 2022-09-26T15:43:17Z Sofun 15 wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == Stories == I did an internship with this organization. While I was working with the organization, I changed two individuals' oral stories into written ones. One of the individuals I worked with was Pamela Curry. She is an individual who brought the financial side of AIDS to light. Pamela Curry; Pamela Curry is a trans woman but also an activist within her community. Her story begins with a crisis of faith and ends with Pamela holding the first Transgender Day of Remembrance (TDOR) in Dallas, Texas through the Cathedral of Hope. She grew up believing in the Catholic religion. However, when she was sitting in a lecture, she noticed this crisis of faith even though she had been struggling with her identity for a long time. Pamela knew it was Satan but it did not matter how many rosaries she said; the feeling did not go away. Pamela returned back to the Dallas area in 2001 after spending fourteen months in Austin trying to escape a bad relationship. This relationship was filled with alcoholism and abuse. While in Austin, she started going to church again and had her first meeting with an organization called Act Now, a national initiative that supports community groups and organizations working together to reimagine what their communities can become. At this meeting, she was told by a man that the organization did not need “her nor her kind”. When she returned to Dallas, she began attending Cathedral of Hope, which is the largest LGBTQ serving church in the world (https://cathedralofhope.com). Pamela started to get involved even though she was hesitant since she had never attended a church of this size. In November of 2001, Pamela was talking to a friend in an American Online trans chat room. This friend, who had been one of the so-called “Screaming Queens” at the Compton’s Cafeteria riots in 1966 San Francisco, introduced Pamela to Transgender Day of Remembrance, an internatinal event held annually in November to remember and memorialize thise who are killed by anti-trans violence. Shortly after this conversation, another friend of Pamela’s who lived in Houston prompted Pamela: “You’ve got that big, beatuiful church in Dallas, how come there is not Transgender Day of Remembrance?” As a new member who did not know anybody, Pamela knew she could not make it happen that year but she committed to making it happen the following year. Pamela approached an individual at the church named Linda Freeman. She told Linda she needed to make this happen but how did she do it and who did she need to talk to? Linda suggested that Pamela talked to Reverend Mona West. Pamela asked Linda to accompany her to the meeting since she did not know Reverend West. After making the meeting and giving the pitch, Reverend West agreed they needed to make this day happen. On November 24. 2002, as a result of Pamela Curry’s advocacy and action, Cathedral of Hope hosted Dallas’s first ever Transgender Day of Remembrance. 2002 was a busy year for Pamela and her community. This was the year that Sesame Workshop, the non-profit that produces the show Sesame Street, announced they were bringing a new Muppet to their South African show, Takalani Sesame: an HIV+ muppet named Kami. This character was meant to destigmatize HIV in a region that was being decimated by AIDS. The Republican party during this time signed off on the attack of Kami which is where Pamela started her activist campaign. She wrote every Republican a letter who signed off on the attack. She also sent the same copies of the letter to PBS, Public Broadcasting Service, and Sesame Workshop. Shortly after these letters, she received a call from POZ Magazine. POZ Magazine is a magazine that shares the lives of people affected by HIV/AIDS; they also share daily news, treatment options, forums. blogs, personals. Her article appeared in POZ magazine in October of 2002 titled “Mup Roar” which started with “Did she get it from Gover? We may never find out” (https://www.poz.com/article/Mup-Roar-976-7363). News of this Muppet caused a week-long uproar, in July, in the United States. The United States Sesame Workshop announced they would not be debuting this Muppet but PBS, Pat Mitchell, said he would not permanently rule out how to tell the Muppet to get on Sesame Street. HIV positive parents in the US such as Pamela Curry of Dallas, Texas called this move to be nothing but an attempt of tactical strong-arm censorship. The article Pamela wrote for POZ magazine was her first actual action for HIV advocacy and it was defending a Muppet. A couple of months after the first TDOR Pamela got invited to a meeting at HHS which is now the AIDS Coalition of Texas. She got invited because of her article on the Muppet. Compared to her last meeting where she was told they did not need her kind, at this meeting, Pamela was told by the brother of the founder that they needed everybody so she got on the bus. In January 2003, she headed to this meeting with a poster. With this poster, Pamela gave her speech. “My name is Pamela Curry, I am a forty-five year old transsexual female, a resident of the city and county of Dallas in addition to being uh well diagnosed with HIV in 97. I’m an active member of the Cathedral of Hope, the Dallas Transgender Alliance, and I want to thank Act Now for providing the means for me to be here today. We cannot afford cuts to the Texas HIV medication program. I hope you like the visual aids provided by many of the previous speakers...” Her speech continued with information about her financials with the costs of needed medications. She explained that her social security check in 2003 was a thousand four dollars and at Tom Thumb right down the street the AZT medication was one hundred and twenty-two dollars a month, her generics was three hundred and fifty dollars a month, her norvir was one hundred and twenty-eight, my ziongin was four hundred and four. With those costs, her medications already surpassed her check. The listed expenses did not include a place to live or food to eat. Before her speech, all of the news media left then reentered during. They thought all of the individuals worth taking pictures of had already gone but they captured a photo of her holding her poster. Almost every newspaper in the state had her picture on the front page and the next week she was on the front page of The Dallas Morning News. A couple of weeks after the articles she got a call asking to be a regional coordinator for ACT NOW. Pamela still received a lot of pushback in her position because they believed they did not need her “kind”. The same man from Fort Worth that told her they did not need her kind in 1999 was upset because she went over him in position, authority, and pay. Eventually, the hostility from leadership became enough and it brought her to quit. Then she received a phone call from the executive director, legislative coordinator who replaced the individual with an alcohol problem, three days later that they wanted to take her out to eat where they asked for her back. She apologized and said that she could not because she had someone in Fort Worth who would not even work for her so they created her a new position but there was still a problem. The executive director had a drug problem that led him to be fired in 2004. On January 8th, 2005, she was at a meeting at the Marriott Hotel with Reverend Culberson, Mr. Lorenzo Sia’s -a pharmaceutical representative -from El Paso, and Dr. Amid from Houston where they created a new organization. While they were speaking about a budget, someone called them from Houston and told them they needed a capital day event but they had to change their name. They had their event, Transgender Day of Remembrance, so they changed their name to Texas Age Advocacy Coalition. Articles on the majority of all past and present TDOR events can be found on https://dallasvoice.com. In 2004, Pamela was in a patient advocacy summit in Philadelphia. They interviewed her with the question, “Why do you advocate for people?” She replied with, “It’s simple. The same reason I help anybody is because someday I may be too weak, too sick, too ill to speak for myself.” When Pamela helps any of her sisters with a document for name change, gender marker change, or anything when they always come back and ask how they could thank her. Pamela tells and encourages all to empower and help someone else! == How to Become Involved == == Events == == Photos == == References == <references/> f34ef0f64ae3779527bf99ba155dcab4303ccd2c 285 271 2022-09-26T18:44:53Z Sofun 15 wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == Stories == I did an internship with this organization. While I was working with the organization, I changed two individuals' oral stories into written ones. One of the individuals I worked with was Pamela Curry. She is an individual who brought the financial side of AIDS to light. Pamela Curry; Pamela Curry is a trans woman but also an activist within her community. Her story begins with a crisis of faith and ends with Pamela holding the first Transgender Day of Remembrance (TDOR) in Dallas, Texas through the Cathedral of Hope. She grew up believing in the Catholic religion. However, when she was sitting in a lecture, she noticed this crisis of faith even though she had been struggling with her identity for a long time. Pamela knew it was Satan but it did not matter how many rosaries she said; the feeling did not go away. Pamela returned back to the Dallas area in 2001 after spending fourteen months in Austin trying to escape a bad relationship. This relationship was filled with alcoholism and abuse. While in Austin, she started going to church again and had her first meeting with an organization called Act Now, a national initiative that supports community groups and organizations working together to reimagine what their communities can become. At this meeting, she was told by a man that the organization did not need “her nor her kind”. When she returned to Dallas, she began attending Cathedral of Hope, which is the largest LGBTQ serving church in the world (https://cathedralofhope.com). Pamela started to get involved even though she was hesitant since she had never attended a church of this size. In November of 2001, Pamela was talking to a friend in an American Online trans chat room. This friend, who had been one of the so-called “Screaming Queens” at the Compton’s Cafeteria riots in 1966 San Francisco, introduced Pamela to Transgender Day of Remembrance, an internatinal event held annually in November to remember and memorialize thise who are killed by anti-trans violence. Shortly after this conversation, another friend of Pamela’s who lived in Houston prompted Pamela: “You’ve got that big, beatuiful church in Dallas, how come there is not Transgender Day of Remembrance?” As a new member who did not know anybody, Pamela knew she could not make it happen that year but she committed to making it happen the following year. Pamela approached an individual at the church named Linda Freeman. She told Linda she needed to make this happen but how did she do it and who did she need to talk to? Linda suggested that Pamela talked to Reverend Mona West. Pamela asked Linda to accompany her to the meeting since she did not know Reverend West. After making the meeting and giving the pitch, Reverend West agreed they needed to make this day happen. On November 24. 2002, as a result of Pamela Curry’s advocacy and action, Cathedral of Hope hosted Dallas’s first ever Transgender Day of Remembrance. 2002 was a busy year for Pamela and her community. This was the year that Sesame Workshop, the non-profit that produces the show Sesame Street, announced they were bringing a new Muppet to their South African show, Takalani Sesame: an HIV+ muppet named Kami. This character was meant to destigmatize HIV in a region that was being decimated by AIDS. The Republican party during this time signed off on the attack of Kami which is where Pamela started her activist campaign. She wrote every Republican a letter who signed off on the attack. She also sent the same copies of the letter to PBS, Public Broadcasting Service, and Sesame Workshop. Shortly after these letters, she received a call from POZ Magazine. POZ Magazine is a magazine that shares the lives of people affected by HIV/AIDS; they also share daily news, treatment options, forums. blogs, personals. Her article appeared in POZ magazine in October of 2002 titled “Mup Roar” which started with “Did she get it from Gover? We may never find out” (https://www.poz.com/article/Mup-Roar-976-7363). News of this Muppet caused a week-long uproar, in July, in the United States. The United States Sesame Workshop announced they would not be debuting this Muppet but PBS, Pat Mitchell, said he would not permanently rule out how to tell the Muppet to get on Sesame Street. HIV positive parents in the US such as Pamela Curry of Dallas, Texas called this move to be nothing but an attempt of tactical strong-arm censorship. The article Pamela wrote for POZ magazine was her first actual action for HIV advocacy and it was defending a Muppet. A couple of months after the first TDOR Pamela got invited to a meeting at HHS which is now the AIDS Coalition of Texas. She got invited because of her article on the Muppet. Compared to her last meeting where she was told they did not need her kind, at this meeting, Pamela was told by the brother of the founder that they needed everybody so she got on the bus. In January 2003, she headed to this meeting with a poster. With this poster, Pamela gave her speech. “My name is Pamela Curry, I am a forty-five year old transsexual female, a resident of the city and county of Dallas in addition to being uh well diagnosed with HIV in 97. I’m an active member of the Cathedral of Hope, the Dallas Transgender Alliance, and I want to thank Act Now for providing the means for me to be here today. We cannot afford cuts to the Texas HIV medication program. I hope you like the visual aids provided by many of the previous speakers...” Her speech continued with information about her financials with the costs of needed medications. She explained that her social security check in 2003 was a thousand four dollars and at Tom Thumb right down the street the AZT medication was one hundred and twenty-two dollars a month, her generics was three hundred and fifty dollars a month, her norvir was one hundred and twenty-eight, my ziongin was four hundred and four. With those costs, her medications already surpassed her check. The listed expenses did not include a place to live or food to eat. Before her speech, all of the news media left then reentered during. They thought all of the individuals worth taking pictures of had already gone but they captured a photo of her holding her poster. Almost every newspaper in the state had her picture on the front page and the next week she was on the front page of The Dallas Morning News. A couple of weeks after the articles she got a call asking to be a regional coordinator for ACT NOW. Pamela still received a lot of pushback in her position because they believed they did not need her “kind”. The same man from Fort Worth that told her they did not need her kind in 1999 was upset because she went over him in position, authority, and pay. Eventually, the hostility from leadership became enough and it brought her to quit. Then she received a phone call from the executive director, legislative coordinator who replaced the individual with an alcohol problem, three days later that they wanted to take her out to eat where they asked for her back. She apologized and said that she could not because she had someone in Fort Worth who would not even work for her so they created her a new position but there was still a problem. The executive director had a drug problem that led him to be fired in 2004. On January 8th, 2005, she was at a meeting at the Marriott Hotel with Reverend Culberson, Mr. Lorenzo Sia’s -a pharmaceutical representative -from El Paso, and Dr. Amid from Houston where they created a new organization. While they were speaking about a budget, someone called them from Houston and told them they needed a capital day event but they had to change their name. They had their event, Transgender Day of Remembrance, so they changed their name to Texas Age Advocacy Coalition. Articles on the majority of all past and present TDOR events can be found on https://dallasvoice.com. In 2004, Pamela was in a patient advocacy summit in Philadelphia. They interviewed her with the question, “Why do you advocate for people?” She replied with, “It’s simple. The same reason I help anybody is because someday I may be too weak, too sick, too ill to speak for myself.” When Pamela helps any of her sisters with a document for name change, gender marker change, or anything when they always come back and ask how they could thank her. Pamela tells and encourages all to empower and help someone else! == How to Become Involved == Their website gives many options to become involved in their organization. Some of their listings even include what your money would be going to which is neat to see. One of the easiest ways to become involved is to be a member. The members range from student, scholar, librarian, curator, archivist, and historian. Student is the cheapest rate with each gradually increasing from there in value and work it can produce. For example, the student membership is thirty-five dollars and helps create one page for the archives. If someone does not want to identify themselves as a member, they can also choose to be a donor with any amount they choose. The other option that requires no money is volunteering for the organization. Money donations go towards, but not limited to, the website, invitations to events, events, video equipment, UNT, etc. == ?? == == Photos == == References == <references/> cb3dab866b1d09bb04b9bd7c4ef54dc69cbced8a 0 42 277 255 2022-09-26T17:23:34Z Anaya.nichelle 23 /* Heading text */ wikitext text/x-wiki ==== Rap Music ==== Rap is a popular style of music that first developed in the 1970s by DJs and urban black performers. Rap, which stands for “Rhythm and Poetry”, is typically but not limited to incorporating the blend of instrumentals, audio samples, beats, and spoken words to create what is considered a very unique and genre of music. Rap, as a style of music, has little room for strict labels and binaries. Besides the differences in sounds across decades, Rap can sound very different depending on the location of the rapper, their personal motivations, and other factors. Rap music can be spoken words, but some rappers incorporate elements of song into their rap. Rap music can feature an instrumental in the background, but it doesn’t have to. A single song could have both. Oftentimes the song is written beforehand, but freestyle rap is created in real time. Again, there are songs that can be both. Rap music, stylistically, takes so many different shapes in forms in our society and the style of music will only continue to take on different forms in the future. ==== Heading text ==== ==== Heading text ==== ==== Heading text ==== fa1cbf33acdeebc6f5595bde00e43201ea73f028 278 277 2022-09-26T17:25:07Z Anaya.nichelle 23 /* Rap Music */ wikitext text/x-wiki ==== Rap Music & its Fluidity ==== Rap is a popular style of music that first developed in the 1970s by DJs and urban black performers. Rap, which stands for “Rhythm and Poetry”, is typically but not limited to incorporating the blend of instrumentals, audio samples, beats, and spoken words to create what is considered a very unique and genre of music. Rap, as a style of music, has little room for strict labels and binaries. Besides the differences in sounds across decades, Rap can sound very different depending on the location of the rapper, their personal motivations, and other factors. Rap music can be spoken words, but some rappers incorporate elements of song into their rap. Rap music can feature an instrumental in the background, but it doesn’t have to. A single song could have both. Oftentimes the song is written beforehand, but freestyle rap is created in real time. Again, there are songs that can be both. Rap music, stylistically, takes so many different shapes in forms in our society and the style of music will only continue to take on different forms in the future. An example of variety in rap is the artist, Lil Nas X’s, debut single, Old Town Road. The song originally entered the Billboard Charts as a country song but was eventually disqualified because the song didn’t fit the genre which created conversation around the definition of country music. The song, though not fully fitting any one genre, was rejected by the general country genre community for its fluidity but the song’s fluidity was always accepted by the rap community and is oftentimes considered “country rap.” Following the controversy, country singer, Billy Ray Cyrus, joined the song and both versions of the song peaked at number one and became the longest run for a number one song ever in Billboard History for remaining at number one for 19 consecutive weeks. ==== Heading text ==== ==== Heading text ==== ==== Heading text ==== 3b0fed090b8d518a1d06d7b8118f42f4e133a5f8 279 278 2022-09-26T17:32:55Z Anaya.nichelle 23 /* Heading text */ wikitext text/x-wiki ==== Rap Music & its Fluidity ==== Rap is a popular style of music that first developed in the 1970s by DJs and urban black performers. Rap, which stands for “Rhythm and Poetry”, is typically but not limited to incorporating the blend of instrumentals, audio samples, beats, and spoken words to create what is considered a very unique and genre of music. Rap, as a style of music, has little room for strict labels and binaries. Besides the differences in sounds across decades, Rap can sound very different depending on the location of the rapper, their personal motivations, and other factors. Rap music can be spoken words, but some rappers incorporate elements of song into their rap. Rap music can feature an instrumental in the background, but it doesn’t have to. A single song could have both. Oftentimes the song is written beforehand, but freestyle rap is created in real time. Again, there are songs that can be both. Rap music, stylistically, takes so many different shapes in forms in our society and the style of music will only continue to take on different forms in the future. An example of variety in rap is the artist, Lil Nas X’s, debut single, Old Town Road. The song originally entered the Billboard Charts as a country song but was eventually disqualified because the song didn’t fit the genre which created conversation around the definition of country music. The song, though not fully fitting any one genre, was rejected by the general country genre community for its fluidity but the song’s fluidity was always accepted by the rap community and is oftentimes considered “country rap.” Following the controversy, country singer, Billy Ray Cyrus, joined the song and both versions of the song peaked at number one and became the longest run for a number one song ever in Billboard History for remaining at number one for 19 consecutive weeks. ==== Mainstream Male Rappers & Black Hypermasculinity ==== Despite there being so much variety within rap music as a whole, the mainstream rap community seems to ironically remain quite homogenous. We have already established how the genre in its entirety is diverse in sound, but the rappers that win the most awards, gain the largest fanbases, and have the most success in the music industry mostly fit the same mold. The most popular rappers of today and the past few decades have typically male, more aggressive in speech, hypersexual towards women in an objectifying way, materialistic, and promoters of “hustle” culture. Popular “conscious rappers” oftentimes make critiques of what has been listed above, but still engage in the mainstream rap culture. This is, of course, not by accident. Many of these traits reflect the hypermasculinization of the black body, especially with black men. This was not an issue created by the black community, but an issue that the black community reinforces when promoting unhealthy hypermasculinity and dismissing any forms of femininity in black culture that don’t center benefit the desires of man. ==== Heading text ==== ==== Heading text ==== 9f71c5dc561df2e84149696d522f9c2503670dc1 280 279 2022-09-26T17:37:48Z Anaya.nichelle 23 /* Mainstream Male Rappers & Black Hypermasculinity */ wikitext text/x-wiki ==== Rap Music & its Fluidity ==== Rap is a popular style of music that first developed in the 1970s by DJs and urban black performers. Rap, which stands for “Rhythm and Poetry”, is typically but not limited to incorporating the blend of instrumentals, audio samples, beats, and spoken words to create what is considered a very unique and genre of music. Rap, as a style of music, has little room for strict labels and binaries. Besides the differences in sounds across decades, Rap can sound very different depending on the location of the rapper, their personal motivations, and other factors. Rap music can be spoken words, but some rappers incorporate elements of song into their rap. Rap music can feature an instrumental in the background, but it doesn’t have to. A single song could have both. Oftentimes the song is written beforehand, but freestyle rap is created in real time. Again, there are songs that can be both. Rap music, stylistically, takes so many different shapes in forms in our society and the style of music will only continue to take on different forms in the future. An example of variety in rap is the artist, Lil Nas X’s, debut single, Old Town Road. The song originally entered the Billboard Charts as a country song but was eventually disqualified because the song didn’t fit the genre which created conversation around the definition of country music. The song, though not fully fitting any one genre, was rejected by the general country genre community for its fluidity but the song’s fluidity was always accepted by the rap community and is oftentimes considered “country rap.” Following the controversy, country singer, Billy Ray Cyrus, joined the song and both versions of the song peaked at number one and became the longest run for a number one song ever in Billboard History for remaining at number one for 19 consecutive weeks. ==== Mainstream Male Rappers & Black Hypermasculinity ==== Despite there being so much variety within rap music as a whole, the mainstream rap community seems to ironically remain quite homogenous. We have already established how the genre in its entirety is diverse in sound, but the rappers that win the most awards, gain the largest fanbases, and have the most success in the music industry mostly fit the same mold. The most popular rappers of today and the past few decades have typically male, more aggressive in speech, hypersexual towards women in an objectifying way, materialistic, and promoters of “hustle” culture. Popular “conscious rappers” oftentimes make critiques of what has been listed above, but still engage in the mainstream rap culture. This is, of course, not by accident. Many of these traits reflect the hypermasculinization of the black body, especially with black men. This was not an issue created by the black community, but an issue that the black community reinforces when promoting unhealthy hypermasculinity and dismissing any forms of femininity in black culture that don’t center around and benefit the desires of man. ==== Heading text ==== ==== Heading text ==== c93e367fdd84f69fe1d5417fb2624fc14afe44ba 281 280 2022-09-26T17:42:14Z Anaya.nichelle 23 /* Mainstream Male Rappers & Black Hypermasculinity */ wikitext text/x-wiki ==== Rap Music & its Fluidity ==== Rap is a popular style of music that first developed in the 1970s by DJs and urban black performers. Rap, which stands for “Rhythm and Poetry”, is typically but not limited to incorporating the blend of instrumentals, audio samples, beats, and spoken words to create what is considered a very unique and genre of music. Rap, as a style of music, has little room for strict labels and binaries. Besides the differences in sounds across decades, Rap can sound very different depending on the location of the rapper, their personal motivations, and other factors. Rap music can be spoken words, but some rappers incorporate elements of song into their rap. Rap music can feature an instrumental in the background, but it doesn’t have to. A single song could have both. Oftentimes the song is written beforehand, but freestyle rap is created in real time. Again, there are songs that can be both. Rap music, stylistically, takes so many different shapes in forms in our society and the style of music will only continue to take on different forms in the future. An example of variety in rap is the artist, Lil Nas X’s, debut single, Old Town Road. The song originally entered the Billboard Charts as a country song but was eventually disqualified because the song didn’t fit the genre which created conversation around the definition of country music. The song, though not fully fitting any one genre, was rejected by the general country genre community for its fluidity but the song’s fluidity was always accepted by the rap community and is oftentimes considered “country rap.” Following the controversy, country singer, Billy Ray Cyrus, joined the song and both versions of the song peaked at number one and became the longest run for a number one song ever in Billboard History for remaining at number one for 19 consecutive weeks. ==== Mainstream Male Rappers & Black Hypermasculinity ==== Despite there being so much variety within rap music as a whole, the mainstream rap community seems to ironically remain quite homogenous. We have already established how the genre in its entirety is diverse in sound, but the rappers that win the most awards, gain the largest fanbases, and have the most success in the music industry mostly fit the same mold. The most popular rappers of today and the past few decades have typically male, more aggressive in speech, sexual towards women in an objectifying way, materialistic, and promoters of “hustle” culture. Popular “conscious rappers” oftentimes make critiques of what has been listed above, but still engage in the mainstream rap culture. This is, of course, not by accident. Many of these traits reflect the hypermasculinization of the black body, especially with black men. This was not an issue created by the black community, but an issue that the black community reinforces when promoting unhealthy hypermasculinity and dismissing any forms of femininity in black culture that don’t center around and benefit the desires of man. ==== Heading text ==== ==== Heading text ==== cad4918bcf18f3972c8900ce10a1d176c7be49e0 282 281 2022-09-26T17:44:41Z Anaya.nichelle 23 /* Heading text */ wikitext text/x-wiki ==== Rap Music & its Fluidity ==== Rap is a popular style of music that first developed in the 1970s by DJs and urban black performers. Rap, which stands for “Rhythm and Poetry”, is typically but not limited to incorporating the blend of instrumentals, audio samples, beats, and spoken words to create what is considered a very unique and genre of music. Rap, as a style of music, has little room for strict labels and binaries. Besides the differences in sounds across decades, Rap can sound very different depending on the location of the rapper, their personal motivations, and other factors. Rap music can be spoken words, but some rappers incorporate elements of song into their rap. Rap music can feature an instrumental in the background, but it doesn’t have to. A single song could have both. Oftentimes the song is written beforehand, but freestyle rap is created in real time. Again, there are songs that can be both. Rap music, stylistically, takes so many different shapes in forms in our society and the style of music will only continue to take on different forms in the future. An example of variety in rap is the artist, Lil Nas X’s, debut single, Old Town Road. The song originally entered the Billboard Charts as a country song but was eventually disqualified because the song didn’t fit the genre which created conversation around the definition of country music. The song, though not fully fitting any one genre, was rejected by the general country genre community for its fluidity but the song’s fluidity was always accepted by the rap community and is oftentimes considered “country rap.” Following the controversy, country singer, Billy Ray Cyrus, joined the song and both versions of the song peaked at number one and became the longest run for a number one song ever in Billboard History for remaining at number one for 19 consecutive weeks. ==== Mainstream Male Rappers & Black Hypermasculinity ==== Despite there being so much variety within rap music as a whole, the mainstream rap community seems to ironically remain quite homogenous. We have already established how the genre in its entirety is diverse in sound, but the rappers that win the most awards, gain the largest fanbases, and have the most success in the music industry mostly fit the same mold. The most popular rappers of today and the past few decades have typically male, more aggressive in speech, sexual towards women in an objectifying way, materialistic, and promoters of “hustle” culture. Popular “conscious rappers” oftentimes make critiques of what has been listed above, but still engage in the mainstream rap culture. This is, of course, not by accident. Many of these traits reflect the hypermasculinization of the black body, especially with black men. This was not an issue created by the black community, but an issue that the black community reinforces when promoting unhealthy hypermasculinity and dismissing any forms of femininity in black culture that don’t center around and benefit the desires of man. ==== Lil Nas X, Mainstream Rap, and Identity ==== ==== Heading text ==== b2471e105ecb9ba1a31bf751e3764198797dcf21 283 282 2022-09-26T17:46:35Z Anaya.nichelle 23 /* Heading text */ wikitext text/x-wiki ==== Rap Music & its Fluidity ==== Rap is a popular style of music that first developed in the 1970s by DJs and urban black performers. Rap, which stands for “Rhythm and Poetry”, is typically but not limited to incorporating the blend of instrumentals, audio samples, beats, and spoken words to create what is considered a very unique and genre of music. Rap, as a style of music, has little room for strict labels and binaries. Besides the differences in sounds across decades, Rap can sound very different depending on the location of the rapper, their personal motivations, and other factors. Rap music can be spoken words, but some rappers incorporate elements of song into their rap. Rap music can feature an instrumental in the background, but it doesn’t have to. A single song could have both. Oftentimes the song is written beforehand, but freestyle rap is created in real time. Again, there are songs that can be both. Rap music, stylistically, takes so many different shapes in forms in our society and the style of music will only continue to take on different forms in the future. An example of variety in rap is the artist, Lil Nas X’s, debut single, Old Town Road. The song originally entered the Billboard Charts as a country song but was eventually disqualified because the song didn’t fit the genre which created conversation around the definition of country music. The song, though not fully fitting any one genre, was rejected by the general country genre community for its fluidity but the song’s fluidity was always accepted by the rap community and is oftentimes considered “country rap.” Following the controversy, country singer, Billy Ray Cyrus, joined the song and both versions of the song peaked at number one and became the longest run for a number one song ever in Billboard History for remaining at number one for 19 consecutive weeks. ==== Mainstream Male Rappers & Black Hypermasculinity ==== Despite there being so much variety within rap music as a whole, the mainstream rap community seems to ironically remain quite homogenous. We have already established how the genre in its entirety is diverse in sound, but the rappers that win the most awards, gain the largest fanbases, and have the most success in the music industry mostly fit the same mold. The most popular rappers of today and the past few decades have typically male, more aggressive in speech, sexual towards women in an objectifying way, materialistic, and promoters of “hustle” culture. Popular “conscious rappers” oftentimes make critiques of what has been listed above, but still engage in the mainstream rap culture. This is, of course, not by accident. Many of these traits reflect the hypermasculinization of the black body, especially with black men. This was not an issue created by the black community, but an issue that the black community reinforces when promoting unhealthy hypermasculinity and dismissing any forms of femininity in black culture that don’t center around and benefit the desires of man. ==== Lil Nas X, Mainstream Rap, and Identity ==== ==== More Than One Way to Be a Black Man ==== 5b2cc16d970e532dfd90fb076d5657c476d79356 284 283 2022-09-26T18:32:08Z Anaya.nichelle 23 /* Lil Nas X, Mainstream Rap, and Identity */ wikitext text/x-wiki ==== Rap Music & its Fluidity ==== Rap is a popular style of music that first developed in the 1970s by DJs and urban black performers. Rap, which stands for “Rhythm and Poetry”, is typically but not limited to incorporating the blend of instrumentals, audio samples, beats, and spoken words to create what is considered a very unique and genre of music. Rap, as a style of music, has little room for strict labels and binaries. Besides the differences in sounds across decades, Rap can sound very different depending on the location of the rapper, their personal motivations, and other factors. Rap music can be spoken words, but some rappers incorporate elements of song into their rap. Rap music can feature an instrumental in the background, but it doesn’t have to. A single song could have both. Oftentimes the song is written beforehand, but freestyle rap is created in real time. Again, there are songs that can be both. Rap music, stylistically, takes so many different shapes in forms in our society and the style of music will only continue to take on different forms in the future. An example of variety in rap is the artist, Lil Nas X’s, debut single, Old Town Road. The song originally entered the Billboard Charts as a country song but was eventually disqualified because the song didn’t fit the genre which created conversation around the definition of country music. The song, though not fully fitting any one genre, was rejected by the general country genre community for its fluidity but the song’s fluidity was always accepted by the rap community and is oftentimes considered “country rap.” Following the controversy, country singer, Billy Ray Cyrus, joined the song and both versions of the song peaked at number one and became the longest run for a number one song ever in Billboard History for remaining at number one for 19 consecutive weeks. ==== Mainstream Male Rappers & Black Hypermasculinity ==== Despite there being so much variety within rap music as a whole, the mainstream rap community seems to ironically remain quite homogenous. We have already established how the genre in its entirety is diverse in sound, but the rappers that win the most awards, gain the largest fanbases, and have the most success in the music industry mostly fit the same mold. The most popular rappers of today and the past few decades have typically male, more aggressive in speech, sexual towards women in an objectifying way, materialistic, and promoters of “hustle” culture. Popular “conscious rappers” oftentimes make critiques of what has been listed above, but still engage in the mainstream rap culture. This is, of course, not by accident. Many of these traits reflect the hypermasculinization of the black body, especially with black men. This was not an issue created by the black community, but an issue that the black community reinforces when promoting unhealthy hypermasculinity and dismissing any forms of femininity in black culture that don’t center around and benefit the desires of man. ==== Lil Nas X, Mainstream Rap, and Identity ==== When first coming out as gay in June 2019, Lil Nas X was deemed the “acceptable queer.” I personally remember many of his original fans choosing to continue supporting him because he wasn’t one of “those” gay people who threw their sexuality in your face. At this time, he mostly collaborated with assumed straight men such as DaBaby and Nas. Some of his identity as the “acceptable queer” was due to the public’s perception of him, but some of it was his choice (or at least the illusion of choice). Prior to coming out before making it big, he downplayed his obsession with Nicki Minaj so that people wouldn’t know that he was gay. Controversy and online opinions aside, this highlights three important issues. One issue is the idea that enjoying music made by women as a man means that you are attracted to men, because the same assumption isn’t made in reverse. The second issue is that this assumption is made with a very negative connotation. The third issue is that Lil Nas X felt the need to hide his sexual orientation in order to be successful in the rap industry. Today, Lil Nas X follows very little rules in the industry. What separates Lil Nas X from even other popular gay rappers such as Saucy Santana is that he truly fits no molds. Lil Nas X no longer feels the need to be solely masculine in his music. However, he does still make music and fashion choices that may be perceived as more masculine. Lil Nas X, as a gay man, did not decide to only make music catered to women and solely act in his feminine energy. However, he does still make music and fashion choices that may be perceived as more feminine. He’s aggressive and materialistic, he’s pretty and soft, he wears durags and dresses, grills and nails, tuxedos and ballgowns, and he is the embodiment of identity being a spectrum and not a binary. Instead of focusing on being the “right” or acceptable queer (think ethos), he queers ethos by basically saying “get used to it.” I’d like to think that the fanbase that argued his validity through how much he can assimilate is gone, and his current (much larger) fanbase argues that he’s valid for simply being him. ==== More Than One Way to Be a Black Man ==== c53ed18badd6cb53a07d4be0d31241de9c05c9b9 0 41 290 256 2022-09-26T19:08:24Z Groomesdeja 19 wikitext text/x-wiki = Background = The High School Musical movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiering in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the High School Musical franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media is stemmed from the history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I would argue in favor of the former in relation to the High School Musical film franchise. = High School Musical 2 & Queer Theories = High School Musical 2 situates itself as less of a traditional sequel, and more of a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused on their summer jobs, and eventually the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == In the case of High School Musical 2, Chad and Ryan perform the song “I Don’t Dance” together, and then swap outfits between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film. The vagueness of the significance allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels (CITE). This queer-coded understanding of Chad and Ryan’s relationships foregoes Gayle Rubin’s ideals of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal. == References == 48bc489460d9e3c0ecaa4381719555324b8bd1d5 294 290 2022-09-26T19:19:19Z Groomesdeja 19 /* Queercoding Ryan Evans & Chad Danforth */ wikitext text/x-wiki = Background = The High School Musical movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiering in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the High School Musical franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media is stemmed from the history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I would argue in favor of the former in relation to the High School Musical film franchise. = High School Musical 2 & Queer Theories = High School Musical 2 situates itself as less of a traditional sequel, and more of a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused on their summer jobs, and eventually the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == In the case of High School Musical 2, Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as Taylor, while Ryan is seen becoming closer to supporting character, Kelsi). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to I Don't Dance, Chad is depicted exclusively within heteronormative standards (he is a basketball player, and initially rejects Troy's interest in theatre as seen in the first film). A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. == References == 46e31b1c915bf43d05823fe85abc5298c1426da9 295 294 2022-09-26T19:20:00Z Groomesdeja 19 /* Queercoding, Defined */ wikitext text/x-wiki = Background = The High School Musical movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiering in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the High School Musical franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media is stemmed from the history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I would argue in favor of the former in relation to the High School Musical film franchise. = High School Musical 2 & Queer Theories = High School Musical 2 situates itself as less of a traditional sequel, and more of a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused on their summer jobs, and eventually the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == In the case of High School Musical 2, Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as Taylor, while Ryan is seen becoming closer to supporting character, Kelsi). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to I Don't Dance, Chad is depicted exclusively within heteronormative standards (he is a basketball player, and initially rejects Troy's interest in theatre as seen in the first film). A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. == References == ebaab1495e1d90600e16d616fbe6b5ecad2c6a8d 296 295 2022-09-26T19:23:04Z Groomesdeja 19 /* Background */ wikitext text/x-wiki = Background = The ''High School Musical'' movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiered in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the ''High School Musical'' franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media is stemmed from the history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I would argue in favor of the former in relation to the High School Musical film franchise. = High School Musical 2 & Queer Theories = High School Musical 2 situates itself as less of a traditional sequel, and more of a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused on their summer jobs, and eventually the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == In the case of High School Musical 2, Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as Taylor, while Ryan is seen becoming closer to supporting character, Kelsi). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to I Don't Dance, Chad is depicted exclusively within heteronormative standards (he is a basketball player, and initially rejects Troy's interest in theatre as seen in the first film). A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. == References == 460be7eb7792ec1a3308c3ff3c0f0d4691ab17f5 297 296 2022-09-26T19:24:40Z Groomesdeja 19 /* Queercoding, Defined */ wikitext text/x-wiki = Background = The ''High School Musical'' movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiered in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the ''High School Musical'' franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I am arguing in favor of the former in relation to the ''High School Musical'' film franchise. = High School Musical 2 & Queer Theories = High School Musical 2 situates itself as less of a traditional sequel, and more of a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused on their summer jobs, and eventually the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == In the case of High School Musical 2, Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as Taylor, while Ryan is seen becoming closer to supporting character, Kelsi). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to I Don't Dance, Chad is depicted exclusively within heteronormative standards (he is a basketball player, and initially rejects Troy's interest in theatre as seen in the first film). A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. == References == 2baa62f068bebe8c95fdde2a6fa17cbe2fba4c15 298 297 2022-09-26T19:26:42Z Groomesdeja 19 /* High School Musical 2 & Queer Theories */ wikitext text/x-wiki = Background = The ''High School Musical'' movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiered in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the ''High School Musical'' franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I am arguing in favor of the former in relation to the ''High School Musical'' film franchise. = ''High School Musical 2'' & Queer Theories = ''High School Musical 2'' situates itself both a traditional sequel, as well as a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused less on auditions for the winter musical, and more on their summer jobs as well as the the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == In the case of High School Musical 2, Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as Taylor, while Ryan is seen becoming closer to supporting character, Kelsi). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to I Don't Dance, Chad is depicted exclusively within heteronormative standards (he is a basketball player, and initially rejects Troy's interest in theatre as seen in the first film). A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. == References == 8d25dd15734de0e98d0cff528f4c7a56684711ec 306 298 2022-09-26T21:11:40Z Groomesdeja 19 wikitext text/x-wiki = Background = The ''High School Musical'' movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiered in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the ''High School Musical'' franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I am arguing in favor of the former in relation to the ''High School Musical'' film franchise. = ''High School Musical 2'' & Queer Theories = ''High School Musical 2'' situates itself both a traditional sequel, as well as a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused less on auditions for the winter musical, and more on their summer jobs as well as the the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == In the case of High School Musical 2, Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as Taylor, while Ryan is seen becoming closer to supporting character, Kelsi). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to I Don't Dance, Chad is depicted exclusively within heteronormative standards (he is a basketball player, and initially rejects Troy's interest in theatre as seen in the first film). A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. = References = 89bf1665b589a95c5566bdcceb7afbfc739c4dc0 310 306 2022-09-26T21:19:20Z Groomesdeja 19 wikitext text/x-wiki = Background = The ''High School Musical'' movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiered in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the ''High School Musical'' franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I am arguing in favor of the former in relation to the ''High School Musical'' film franchise. = ''High School Musical 2'' & Queer Theories = ''High School Musical 2'' situates itself both a traditional sequel, as well as a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused less on auditions for the winter musical, and more on their summer jobs as well as the the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == [[File:Chad & Ryan.png|thumb]] In the case of High School Musical 2, Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as Taylor, while Ryan is seen becoming closer to supporting character, Kelsi). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to I Don't Dance, Chad is depicted exclusively within heteronormative standards (he is a basketball player, and initially rejects Troy's interest in theatre as seen in the first film). A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. = References = 30b761d1e27949c67c65007b65e4a4394930917a 0 43 299 2022-09-26T19:28:03Z Julietelena2 14 Created page with " Intimism Intimism was an artistic movement that took place in late 19th and early 20th centuries. The term was first coined in France in 1883 and concerned itself with domestic interiors as subject matter. The practice became popular after the fall of Les Nabis, a group of French artists in the 1890s. Members that broke away from Les Nabis and began practicing intimism were painters Edouard Vuillard and Pierre Bonnard. The goal of intimists was to “convey warmth, c..." wikitext text/x-wiki Intimism Intimism was an artistic movement that took place in late 19th and early 20th centuries. The term was first coined in France in 1883 and concerned itself with domestic interiors as subject matter. The practice became popular after the fall of Les Nabis, a group of French artists in the 1890s. Members that broke away from Les Nabis and began practicing intimism were painters Edouard Vuillard and Pierre Bonnard. The goal of intimists was to “convey warmth, comfort, and quiet isolation of interior scenes.” They drew inspiration from impressionism as the goal is to capture a fleeting moment, but instead of focusing on landscapes, their focus was on interior spaces and finding “beauty in the mundane” New Queer Intimism New Queer Intimism draws from the earlier art movement of Intimism but focuses on depicting everyday queer life. Artists in this loosely affiliated group include Doron Langberg, Salmon Toor, Louis Fratino, Kyle Coniglio, Anthony Cudahy, TM Davy, and Devan Shimoyama. Their work includes various scenes of interior spaces as well as human figures. The paintings “offer a glimpse into the inner lives of people they depict, but they also offer a glimpse into the inner lives of those doing the depicting.” Because all these artists are queer themselves, they draw from their own experience in their work to display a sense of queer intimacy. Doron Langberg, a leader of this movement, explains he wants “even the most explicit of [his] paintings to feel very every day, because that’s the role they have in [his] life.” His goal is to humanize queerness and make it “casual” in a society that has painted queerness as other for so long. Members of Queer Intimism Salmon Toor Salmon Toor was born in 1983 in Lahore, Pakistan. He came to the United States in 2006 and obtained his bachelor’s degree from Ohio Wesleyan University. He went on to get his MFA from Pratt Institute in 2009. His work is concerned with the treatment of colored men, youth in public and private spaces, and technology. He “aims to include brown men in the art historical canon that is often missing representation.” He draws inspiration from his own life and what it means to be an artist in New York City, often painting his friends or people he encounters in his everyday life. Doron Langberg Doron Langberg was born in 1985 in Yokneam Moshava, Israel. He obtained his degree from Pennsylvania Academy of Fine Arts in 2010 and received his MFA from Yale University in 2012. His work contains sexual imagery that he aims to be intimate but casual, queering the representation of nudity in art. Louis Fratino Louis Fratino was born in 1993 in Annapolis, Maryland. He graduated from the Maryland Institute College of Art in 2015 and received a Fulbright fellowship in painting in Berlin as well as a Yale Norfolk Painting Fellowship in Connecticut. His work consists of depicting the contemporary body, landscape, and interior spaces. He “explores the queerness in the gestures of everyday life.” 01b051dbb90ccce97ef14bb04174410dfc2e8b55 301 299 2022-09-26T19:29:15Z Julietelena2 14 wikitext text/x-wiki == Intimism == Intimism was an artistic movement that took place in late 19th and early 20th centuries. The term was first coined in France in 1883 and concerned itself with domestic interiors as subject matter. The practice became popular after the fall of Les Nabis, a group of French artists in the 1890s. Members that broke away from Les Nabis and began practicing intimism were painters Edouard Vuillard and Pierre Bonnard. The goal of intimists was to “convey warmth, comfort, and quiet isolation of interior scenes.” They drew inspiration from impressionism as the goal is to capture a fleeting moment, but instead of focusing on landscapes, their focus was on interior spaces and finding “beauty in the mundane” New Queer Intimism New Queer Intimism draws from the earlier art movement of Intimism but focuses on depicting everyday queer life. Artists in this loosely affiliated group include Doron Langberg, Salmon Toor, Louis Fratino, Kyle Coniglio, Anthony Cudahy, TM Davy, and Devan Shimoyama. Their work includes various scenes of interior spaces as well as human figures. The paintings “offer a glimpse into the inner lives of people they depict, but they also offer a glimpse into the inner lives of those doing the depicting.” Because all these artists are queer themselves, they draw from their own experience in their work to display a sense of queer intimacy. Doron Langberg, a leader of this movement, explains he wants “even the most explicit of [his] paintings to feel very every day, because that’s the role they have in [his] life.” His goal is to humanize queerness and make it “casual” in a society that has painted queerness as other for so long. Members of Queer Intimism Salmon Toor Salmon Toor was born in 1983 in Lahore, Pakistan. He came to the United States in 2006 and obtained his bachelor’s degree from Ohio Wesleyan University. He went on to get his MFA from Pratt Institute in 2009. His work is concerned with the treatment of colored men, youth in public and private spaces, and technology. He “aims to include brown men in the art historical canon that is often missing representation.” He draws inspiration from his own life and what it means to be an artist in New York City, often painting his friends or people he encounters in his everyday life. Doron Langberg Doron Langberg was born in 1985 in Yokneam Moshava, Israel. He obtained his degree from Pennsylvania Academy of Fine Arts in 2010 and received his MFA from Yale University in 2012. His work contains sexual imagery that he aims to be intimate but casual, queering the representation of nudity in art. Louis Fratino Louis Fratino was born in 1993 in Annapolis, Maryland. He graduated from the Maryland Institute College of Art in 2015 and received a Fulbright fellowship in painting in Berlin as well as a Yale Norfolk Painting Fellowship in Connecticut. His work consists of depicting the contemporary body, landscape, and interior spaces. He “explores the queerness in the gestures of everyday life.” 129752768f83f4f2fee019d7a70019363d279d17 302 301 2022-09-26T19:29:44Z Julietelena2 14 wikitext text/x-wiki == Intimism == Intimism was an artistic movement that took place in late 19th and early 20th centuries. The term was first coined in France in 1883 and concerned itself with domestic interiors as subject matter. The practice became popular after the fall of Les Nabis, a group of French artists in the 1890s. Members that broke away from Les Nabis and began practicing intimism were painters Edouard Vuillard and Pierre Bonnard. The goal of intimists was to “convey warmth, comfort, and quiet isolation of interior scenes.” They drew inspiration from impressionism as the goal is to capture a fleeting moment, but instead of focusing on landscapes, their focus was on interior spaces and finding “beauty in the mundane” == New Queer Intimism == New Queer Intimism draws from the earlier art movement of Intimism but focuses on depicting everyday queer life. Artists in this loosely affiliated group include Doron Langberg, Salmon Toor, Louis Fratino, Kyle Coniglio, Anthony Cudahy, TM Davy, and Devan Shimoyama. Their work includes various scenes of interior spaces as well as human figures. The paintings “offer a glimpse into the inner lives of people they depict, but they also offer a glimpse into the inner lives of those doing the depicting.” Because all these artists are queer themselves, they draw from their own experience in their work to display a sense of queer intimacy. Doron Langberg, a leader of this movement, explains he wants “even the most explicit of [his] paintings to feel very every day, because that’s the role they have in [his] life.” His goal is to humanize queerness and make it “casual” in a society that has painted queerness as other for so long. == Members of Queer Intimism == Salmon Toor Salmon Toor was born in 1983 in Lahore, Pakistan. He came to the United States in 2006 and obtained his bachelor’s degree from Ohio Wesleyan University. He went on to get his MFA from Pratt Institute in 2009. His work is concerned with the treatment of colored men, youth in public and private spaces, and technology. He “aims to include brown men in the art historical canon that is often missing representation.” He draws inspiration from his own life and what it means to be an artist in New York City, often painting his friends or people he encounters in his everyday life. Doron Langberg Doron Langberg was born in 1985 in Yokneam Moshava, Israel. He obtained his degree from Pennsylvania Academy of Fine Arts in 2010 and received his MFA from Yale University in 2012. His work contains sexual imagery that he aims to be intimate but casual, queering the representation of nudity in art. Louis Fratino Louis Fratino was born in 1993 in Annapolis, Maryland. He graduated from the Maryland Institute College of Art in 2015 and received a Fulbright fellowship in painting in Berlin as well as a Yale Norfolk Painting Fellowship in Connecticut. His work consists of depicting the contemporary body, landscape, and interior spaces. He “explores the queerness in the gestures of everyday life.” e2158c1eb7a121d5fc44539e17f8c7b96b1bf4ef 304 302 2022-09-26T19:30:13Z Julietelena2 14 wikitext text/x-wiki == Intimism == Intimism was an artistic movement that took place in late 19th and early 20th centuries. The term was first coined in France in 1883 and concerned itself with domestic interiors as subject matter. The practice became popular after the fall of Les Nabis, a group of French artists in the 1890s. Members that broke away from Les Nabis and began practicing intimism were painters Edouard Vuillard and Pierre Bonnard. The goal of intimists was to “convey warmth, comfort, and quiet isolation of interior scenes.” They drew inspiration from impressionism as the goal is to capture a fleeting moment, but instead of focusing on landscapes, their focus was on interior spaces and finding “beauty in the mundane” == New Queer Intimism == New Queer Intimism draws from the earlier art movement of Intimism but focuses on depicting everyday queer life. Artists in this loosely affiliated group include Doron Langberg, Salmon Toor, Louis Fratino, Kyle Coniglio, Anthony Cudahy, TM Davy, and Devan Shimoyama. Their work includes various scenes of interior spaces as well as human figures. The paintings “offer a glimpse into the inner lives of people they depict, but they also offer a glimpse into the inner lives of those doing the depicting.” Because all these artists are queer themselves, they draw from their own experience in their work to display a sense of queer intimacy. Doron Langberg, a leader of this movement, explains he wants “even the most explicit of [his] paintings to feel very every day, because that’s the role they have in [his] life.” His goal is to humanize queerness and make it “casual” in a society that has painted queerness as other for so long. == Members of Queer Intimism == === Salmon Toor === Salmon Toor was born in 1983 in Lahore, Pakistan. He came to the United States in 2006 and obtained his bachelor’s degree from Ohio Wesleyan University. He went on to get his MFA from Pratt Institute in 2009. His work is concerned with the treatment of colored men, youth in public and private spaces, and technology. He “aims to include brown men in the art historical canon that is often missing representation.” He draws inspiration from his own life and what it means to be an artist in New York City, often painting his friends or people he encounters in his everyday life. === Doron Langberg === Doron Langberg was born in 1985 in Yokneam Moshava, Israel. He obtained his degree from Pennsylvania Academy of Fine Arts in 2010 and received his MFA from Yale University in 2012. His work contains sexual imagery that he aims to be intimate but casual, queering the representation of nudity in art. === Louis Fratino === Louis Fratino was born in 1993 in Annapolis, Maryland. He graduated from the Maryland Institute College of Art in 2015 and received a Fulbright fellowship in painting in Berlin as well as a Yale Norfolk Painting Fellowship in Connecticut. His work consists of depicting the contemporary body, landscape, and interior spaces. He “explores the queerness in the gestures of everyday life.” 0d6503cb5e8a5934070fe35e24d66dd5cf2e09a2 305 304 2022-09-26T19:32:16Z Julietelena2 14 /* Members of Queer Intimism */ wikitext text/x-wiki == Intimism == Intimism was an artistic movement that took place in late 19th and early 20th centuries. The term was first coined in France in 1883 and concerned itself with domestic interiors as subject matter. The practice became popular after the fall of Les Nabis, a group of French artists in the 1890s. Members that broke away from Les Nabis and began practicing intimism were painters Edouard Vuillard and Pierre Bonnard. The goal of intimists was to “convey warmth, comfort, and quiet isolation of interior scenes.” They drew inspiration from impressionism as the goal is to capture a fleeting moment, but instead of focusing on landscapes, their focus was on interior spaces and finding “beauty in the mundane” == New Queer Intimism == New Queer Intimism draws from the earlier art movement of Intimism but focuses on depicting everyday queer life. Artists in this loosely affiliated group include Doron Langberg, Salmon Toor, Louis Fratino, Kyle Coniglio, Anthony Cudahy, TM Davy, and Devan Shimoyama. Their work includes various scenes of interior spaces as well as human figures. The paintings “offer a glimpse into the inner lives of people they depict, but they also offer a glimpse into the inner lives of those doing the depicting.” Because all these artists are queer themselves, they draw from their own experience in their work to display a sense of queer intimacy. Doron Langberg, a leader of this movement, explains he wants “even the most explicit of [his] paintings to feel very every day, because that’s the role they have in [his] life.” His goal is to humanize queerness and make it “casual” in a society that has painted queerness as other for so long. == Members of New Queer Intimism == === Salmon Toor === Salmon Toor was born in 1983 in Lahore, Pakistan. He came to the United States in 2006 and obtained his bachelor’s degree from Ohio Wesleyan University. He went on to get his MFA from Pratt Institute in 2009. His work is concerned with the treatment of colored men, youth in public and private spaces, and technology. He “aims to include brown men in the art historical canon that is often missing representation.” He draws inspiration from his own life and what it means to be an artist in New York City, often painting his friends or people he encounters in his everyday life. === Doron Langberg === Doron Langberg was born in 1985 in Yokneam Moshava, Israel. He obtained his degree from Pennsylvania Academy of Fine Arts in 2010 and received his MFA from Yale University in 2012. His work contains sexual imagery that he aims to be intimate but casual, queering the representation of nudity in art. === Louis Fratino === Louis Fratino was born in 1993 in Annapolis, Maryland. He graduated from the Maryland Institute College of Art in 2015 and received a Fulbright fellowship in painting in Berlin as well as a Yale Norfolk Painting Fellowship in Connecticut. His work consists of depicting the contemporary body, landscape, and interior spaces. He “explores the queerness in the gestures of everyday life.” bd4ecbfa0f3f209bcfa4010fc347e8502689126b 6 44 303 2022-09-26T19:30:05Z Groomesdeja 19 wikitext text/x-wiki Chad & Ryan post-clothing exchange (Source: Shipping Fandom Wiki) b0d2959caf0347a6dff5dd2482cc01fd82f233ce 0 45 307 2022-09-26T21:14:14Z Dkreisl 20 Created page with "William Masters and Virginia Johnson had heterosexual couples perform sexual intercourse and 10,000 other sexual activities in the 1950s and 60s to learn and understand about the human sexual response cycle. While this study gave us more insight into this realm of science, it became the idea of what “real” sex is, only penis in vaginal intercourse instead of recognizing other forms of sex that the queer community often performs, which of course heterosexual can do to..." wikitext text/x-wiki William Masters and Virginia Johnson had heterosexual couples perform sexual intercourse and 10,000 other sexual activities in the 1950s and 60s to learn and understand about the human sexual response cycle. While this study gave us more insight into this realm of science, it became the idea of what “real” sex is, only penis in vaginal intercourse instead of recognizing other forms of sex that the queer community often performs, which of course heterosexual can do too. Anthony Storr wrote an article in 1979 for the Washington Post about Masters and Johnson’s book over this, and he pointed out that homosexual couples don’t lack communication with each other like heterosexual partners do, and that it is easier to understand the needs of a partner of the same sex than the opposite sex, so their conclusion with this part of this topic is that homosexual, specifically committed lesbians, are most likely to experience orgasmic release. In their book, they also brought up how heterosexuals often fantasize about homosexual encounters and sometimes wish to be the opposite sex than they are. Now about almost 70 years later, the conversation around this should be questioning on why Masters and Johnson only did tests with heterosexual people instead of different queer couples and individuals as well. Could we also look into more than just sex with this study by taking a look into the emotional and mental aspect of any and all sexual activities? But now, we need to acknowledge that heterosexual sexual activities should not be what is as known as “real” sex since the queer community and even heterosexual couples often have sex differently now, so that experiment isn’t exactly totally accurate anymore. This idea around sex and what sex is should be progressing into a more inclusive mindset, and not be put in a box with rules and certain ways of doing it. 3bcd85a3fd6e150a1e31a503043200fc021696d7 308 307 2022-09-26T21:16:43Z Dkreisl 20 wikitext text/x-wiki == Overview == William Masters and Virginia Johnson had heterosexual couples perform sexual intercourse and 10,000 other sexual activities in the 1950s and 60s to learn and understand about the human sexual response cycle. While this study gave us more insight into this realm of science, it became the idea of what “real” sex is, only penis in vaginal intercourse instead of recognizing other forms of sex that the queer community often performs, which of course heterosexual can do too. Anthony Storr wrote an article in 1979 for the Washington Post about Masters and Johnson’s book over this, and he pointed out that homosexual couples don’t lack communication with each other like heterosexual partners do, and that it is easier to understand the needs of a partner of the same sex than the opposite sex, so their conclusion with this part of this topic is that homosexual, specifically committed lesbians, are most likely to experience orgasmic release. In their book, they also brought up how heterosexuals often fantasize about homosexual encounters and sometimes wish to be the opposite sex than they are. Now about almost 70 years later, the conversation around this should be questioning on why Masters and Johnson only did tests with heterosexual people instead of different queer couples and individuals as well. Could we also look into more than just sex with this study by taking a look into the emotional and mental aspect of any and all sexual activities? But now, we need to acknowledge that heterosexual sexual activities should not be what is as known as “real” sex since the queer community and even heterosexual couples often have sex differently now, so that experiment isn’t exactly totally accurate anymore. This idea around sex and what sex is should be progressing into a more inclusive mindset, and not be put in a box with rules and certain ways of doing it. == References == <references/> b9c317f8cd20aaad88607eb1f3867bf4558ba6a9 311 308 2022-09-26T21:19:39Z Dkreisl 20 /* References */ wikitext text/x-wiki == Overview == William Masters and Virginia Johnson had heterosexual couples perform sexual intercourse and 10,000 other sexual activities in the 1950s and 60s to learn and understand about the human sexual response cycle. While this study gave us more insight into this realm of science, it became the idea of what “real” sex is, only penis in vaginal intercourse instead of recognizing other forms of sex that the queer community often performs, which of course heterosexual can do too. Anthony Storr wrote an article in 1979 for the Washington Post about Masters and Johnson’s book over this, and he pointed out that homosexual couples don’t lack communication with each other like heterosexual partners do, and that it is easier to understand the needs of a partner of the same sex than the opposite sex, so their conclusion with this part of this topic is that homosexual, specifically committed lesbians, are most likely to experience orgasmic release. In their book, they also brought up how heterosexuals often fantasize about homosexual encounters and sometimes wish to be the opposite sex than they are. Now about almost 70 years later, the conversation around this should be questioning on why Masters and Johnson only did tests with heterosexual people instead of different queer couples and individuals as well. Could we also look into more than just sex with this study by taking a look into the emotional and mental aspect of any and all sexual activities? But now, we need to acknowledge that heterosexual sexual activities should not be what is as known as “real” sex since the queer community and even heterosexual couples often have sex differently now, so that experiment isn’t exactly totally accurate anymore. This idea around sex and what sex is should be progressing into a more inclusive mindset, and not be put in a box with rules and certain ways of doing it. == References == <references/> <ref>https://www.washingtonpost.com/archive/entertainment/books/1979/06/17/masters-and-johnson-on-homosexuality/ad08ea86-4f7b-4c9f-b160-f88114706a30/</ref> <ref>Queer: A Graphic History https://iconbooks.com/ib-title/queer-a-graphic-history/</ref> ce3d75b5f6de670ddc42e88e335df6bc03813867 312 311 2022-09-26T21:20:19Z Dkreisl 20 /* References */ wikitext text/x-wiki == Overview == William Masters and Virginia Johnson had heterosexual couples perform sexual intercourse and 10,000 other sexual activities in the 1950s and 60s to learn and understand about the human sexual response cycle. While this study gave us more insight into this realm of science, it became the idea of what “real” sex is, only penis in vaginal intercourse instead of recognizing other forms of sex that the queer community often performs, which of course heterosexual can do too. Anthony Storr wrote an article in 1979 for the Washington Post about Masters and Johnson’s book over this, and he pointed out that homosexual couples don’t lack communication with each other like heterosexual partners do, and that it is easier to understand the needs of a partner of the same sex than the opposite sex, so their conclusion with this part of this topic is that homosexual, specifically committed lesbians, are most likely to experience orgasmic release. In their book, they also brought up how heterosexuals often fantasize about homosexual encounters and sometimes wish to be the opposite sex than they are. Now about almost 70 years later, the conversation around this should be questioning on why Masters and Johnson only did tests with heterosexual people instead of different queer couples and individuals as well. Could we also look into more than just sex with this study by taking a look into the emotional and mental aspect of any and all sexual activities? But now, we need to acknowledge that heterosexual sexual activities should not be what is as known as “real” sex since the queer community and even heterosexual couples often have sex differently now, so that experiment isn’t exactly totally accurate anymore. This idea around sex and what sex is should be progressing into a more inclusive mindset, and not be put in a box with rules and certain ways of doing it. == References == <references/> <ref>https://www.washingtonpost.com/archive/entertainment/books/1979/06/17/masters-and-johnson-on-homosexuality/ad08ea86-4f7b-4c9f-b160-f88114706a30/</ref> <ref>Queer: A Graphic History [https://iconbooks.com/ib-title/queer-a-graphic-history/]</ref> a45031a9b1cb2912b6cabee904e70b74f25872af 6 46 309 2022-09-26T21:18:57Z Groomesdeja 19 wikitext text/x-wiki Chad & Ryan post-clothing swap a81a6bc9dde3461a7deedafeead4cc51fbea2905 0 45 313 312 2022-09-26T21:21:20Z Dkreisl 20 /* References */ wikitext text/x-wiki == Overview == William Masters and Virginia Johnson had heterosexual couples perform sexual intercourse and 10,000 other sexual activities in the 1950s and 60s to learn and understand about the human sexual response cycle. While this study gave us more insight into this realm of science, it became the idea of what “real” sex is, only penis in vaginal intercourse instead of recognizing other forms of sex that the queer community often performs, which of course heterosexual can do too. Anthony Storr wrote an article in 1979 for the Washington Post about Masters and Johnson’s book over this, and he pointed out that homosexual couples don’t lack communication with each other like heterosexual partners do, and that it is easier to understand the needs of a partner of the same sex than the opposite sex, so their conclusion with this part of this topic is that homosexual, specifically committed lesbians, are most likely to experience orgasmic release. In their book, they also brought up how heterosexuals often fantasize about homosexual encounters and sometimes wish to be the opposite sex than they are. Now about almost 70 years later, the conversation around this should be questioning on why Masters and Johnson only did tests with heterosexual people instead of different queer couples and individuals as well. Could we also look into more than just sex with this study by taking a look into the emotional and mental aspect of any and all sexual activities? But now, we need to acknowledge that heterosexual sexual activities should not be what is as known as “real” sex since the queer community and even heterosexual couples often have sex differently now, so that experiment isn’t exactly totally accurate anymore. This idea around sex and what sex is should be progressing into a more inclusive mindset, and not be put in a box with rules and certain ways of doing it. == References == <references/> <ref>https://www.washingtonpost.com/archive/entertainment/books/1979/06/17/masters-and-johnson-on-homosexuality/ad08ea86-4f7b-4c9f-b160-f88114706a30/</ref> <ref> Queer: A Graphic History [https://iconbooks.com/ib-title/queer-a-graphic-history/]</ref> db98e7efd4d47e5ba691931d235f89e143dcc65b 317 313 2022-09-26T21:38:50Z Dkreisl 20 /* Overview */ wikitext text/x-wiki == The Experiment Itself: A Summary == William Masters and Virginia Johnson had heterosexual couples perform sexual intercourse and 10,000 other sexual activities in the 1950s and 60s to learn and understand about the human sexual response cycle. While this study gave us more insight into this realm of science, it became the idea of what “real” sex is, only penis in vaginal intercourse instead of recognizing other forms of sex that the queer community often performs, which of course heterosexuals can do too. == References == <references/> <ref>https://www.washingtonpost.com/archive/entertainment/books/1979/06/17/masters-and-johnson-on-homosexuality/ad08ea86-4f7b-4c9f-b160-f88114706a30/</ref> <ref> Queer: A Graphic History [https://iconbooks.com/ib-title/queer-a-graphic-history/]</ref> d5342d43793b0d9f8a9be0a2f924b62df4073faf 319 317 2022-09-26T21:40:57Z Dkreisl 20 wikitext text/x-wiki == The Experiment Itself: A Summary == William Masters and Virginia Johnson had heterosexual couples perform sexual intercourse and 10,000 other sexual activities in the 1950s and 60s to learn and understand about the human sexual response cycle. While this study gave us more insight into this realm of science, it became the idea of what “real” sex is, only penis in vaginal intercourse instead of recognizing other forms of sex that the queer community often performs, which of course heterosexuals can do too. == Looking at it Through a Queer Lense Back in the Day == Anthony Storr wrote an article in 1979 for the Washington Post about Masters and Johnson’s book over this, and he pointed out that homosexual couples don’t lack communication with each other like heterosexual partners do, and that it is easier to understand the needs of a partner of the same sex than the opposite sex, so their conclusion with this part of this topic is that homosexual, specifically committed lesbians, are most likely to experience orgasmic release. In their book, they also brought up how heterosexuals often fantasize about homosexual encounters and sometimes wish to be the opposite sex than they are. == Now Modernize It == Now about almost 70 years later, the conversation around this should be questioning on why Masters and Johnson only did tests with heterosexual people instead of different queer couples and individuals as well. Could we also look into more than just sex with this study by taking a look into the emotional and mental aspect of any and all sexual activities? But now, we need to acknowledge that heterosexual sexual activities should not be what is as known as “real” sex since the queer community and even heterosexual couples often have sex differently now, so that experiment isn’t exactly totally accurate anymore. This idea around sex and what sex is should be progressing into a more inclusive mindset, and not be put in a box with rules and certain ways of doing it. == References == <references/> <ref>https://www.washingtonpost.com/archive/entertainment/books/1979/06/17/masters-and-johnson-on-homosexuality/ad08ea86-4f7b-4c9f-b160-f88114706a30/</ref> <ref> Queer: A Graphic History [https://iconbooks.com/ib-title/queer-a-graphic-history/]</ref> 430e63669942b94eb5024a9f3868bc282b44dfe5 336 319 2022-09-28T19:41:37Z Dkreisl 20 /* The Experiment Itself: A Summary */ wikitext text/x-wiki == The Experiment Itself: A Summary == William Masters and Virginia Johnson had heterosexual couples perform sexual intercourse and 10,000 other sexual activities in the 1950s and 60s to learn and understand about the human sexual response cycle. The participants were attached to wired machines, which monitored heart rate, lubrication, blood pressure, penile and vaginal size changes. Their results were this: "Excitement (breathing, heart rate, and blood pressure increase), Plateau (muscle tension and circulation increase further), Orgasm (quick cycles of muscle contraction in the lower pelvic area), Resolution (muscles relax, blood pressure drops, and body slows down)" (<ref>Barker 2016 [https://iconbooks.com/ib-title/queer-a-graphic-history/]</ref>). While this study gave us more insight into this realm of science, it became the idea of what “real” sex is, only penis in vaginal intercourse instead of recognizing other forms of sex that the queer community often performs, which of course heterosexuals can do too. == Looking at it Through a Queer Lense Back in the Day == Anthony Storr wrote an article in 1979 for the Washington Post about Masters and Johnson’s book over this, and he pointed out that homosexual couples don’t lack communication with each other like heterosexual partners do, and that it is easier to understand the needs of a partner of the same sex than the opposite sex, so their conclusion with this part of this topic is that homosexual, specifically committed lesbians, are most likely to experience orgasmic release. In their book, they also brought up how heterosexuals often fantasize about homosexual encounters and sometimes wish to be the opposite sex than they are. == Now Modernize It == Now about almost 70 years later, the conversation around this should be questioning on why Masters and Johnson only did tests with heterosexual people instead of different queer couples and individuals as well. Could we also look into more than just sex with this study by taking a look into the emotional and mental aspect of any and all sexual activities? But now, we need to acknowledge that heterosexual sexual activities should not be what is as known as “real” sex since the queer community and even heterosexual couples often have sex differently now, so that experiment isn’t exactly totally accurate anymore. This idea around sex and what sex is should be progressing into a more inclusive mindset, and not be put in a box with rules and certain ways of doing it. == References == <references/> <ref>https://www.washingtonpost.com/archive/entertainment/books/1979/06/17/masters-and-johnson-on-homosexuality/ad08ea86-4f7b-4c9f-b160-f88114706a30/</ref> <ref> Queer: A Graphic History [https://iconbooks.com/ib-title/queer-a-graphic-history/]</ref> 9d6b7f5a2644e12505274cf5203dcf042236a951 337 336 2022-09-28T19:47:38Z Dkreisl 20 /* Now Modernize It */ wikitext text/x-wiki == The Experiment Itself: A Summary == William Masters and Virginia Johnson had heterosexual couples perform sexual intercourse and 10,000 other sexual activities in the 1950s and 60s to learn and understand about the human sexual response cycle. The participants were attached to wired machines, which monitored heart rate, lubrication, blood pressure, penile and vaginal size changes. Their results were this: "Excitement (breathing, heart rate, and blood pressure increase), Plateau (muscle tension and circulation increase further), Orgasm (quick cycles of muscle contraction in the lower pelvic area), Resolution (muscles relax, blood pressure drops, and body slows down)" (<ref>Barker 2016 [https://iconbooks.com/ib-title/queer-a-graphic-history/]</ref>). While this study gave us more insight into this realm of science, it became the idea of what “real” sex is, only penis in vaginal intercourse instead of recognizing other forms of sex that the queer community often performs, which of course heterosexuals can do too. == Looking at it Through a Queer Lense Back in the Day == Anthony Storr wrote an article in 1979 for the Washington Post about Masters and Johnson’s book over this, and he pointed out that homosexual couples don’t lack communication with each other like heterosexual partners do, and that it is easier to understand the needs of a partner of the same sex than the opposite sex, so their conclusion with this part of this topic is that homosexual, specifically committed lesbians, are most likely to experience orgasmic release. In their book, they also brought up how heterosexuals often fantasize about homosexual encounters and sometimes wish to be the opposite sex than they are. == Now Modernize It == Now about almost 70 years later, the conversation around this should be questioning why Masters and Johnson only did tests with heterosexual people instead of different queer couples and individuals as well. Could we also look into more than just sex with this study by taking a look into the emotional and mental aspect of any and all sexual activities? But now, we need to acknowledge that heterosexual sexual activities should not be what is known as “real” sex since the queer community and even heterosexual couples often have sex differently now, so that experiment isn’t exactly totally accurate anymore. This idea around sex and what sex is should be progressing into a more inclusive mindset, and not be put in a box with rules and certain ways of doing it. == References == <references/> <ref>https://www.washingtonpost.com/archive/entertainment/books/1979/06/17/masters-and-johnson-on-homosexuality/ad08ea86-4f7b-4c9f-b160-f88114706a30/</ref> <ref> Queer: A Graphic History [https://iconbooks.com/ib-title/queer-a-graphic-history/]</ref> 2316f15064f98aa1ae560b4e642b73a7dca7f99c 338 337 2022-09-28T19:55:30Z Dkreisl 20 wikitext text/x-wiki == The Experiment Itself: A Summary == William Masters and Virginia Johnson had heterosexual couples perform sexual intercourse and 10,000 other sexual activities in the 1950s and 60s to learn and understand about the human sexual response cycle. The participants were attached to wired machines, which monitored heart rate, lubrication, blood pressure, penile and vaginal size changes. Their results were this: "Excitement (breathing, heart rate, and blood pressure increase), Plateau (muscle tension and circulation increase further), Orgasm (quick cycles of muscle contraction in the lower pelvic area), Resolution (muscles relax, blood pressure drops, and body slows down)" (<ref>Barker 2016 [https://iconbooks.com/ib-title/queer-a-graphic-history/]</ref>). While this study gave us more insight into this realm of science, it became the idea of what “real” sex is, only penis in vaginal intercourse instead of recognizing other forms of sex that the queer community often performs, which of course heterosexuals can do too. == Looking at it Through a Queer Lense Back in the Day == Anthony Storr wrote an article in 1979 for the Washington Post about Masters and Johnson’s book over this, and he pointed out that homosexual couples don’t lack communication with each other like heterosexual partners do, and that it is easier to understand the needs of a partner of the same sex than the opposite sex, so their conclusion with this part of this topic is that homosexual, specifically committed lesbians, are most likely to experience orgasmic release. In their book, they also brought up how heterosexuals often fantasize about homosexual encounters and sometimes wish to be the opposite sex than they are. == What is Real Sex? == "Real" sex can be looked at in many different ways. One person can describe it as any physical sexual act between two people, or even specifically a man and a woman. Another person can see it as strictly vaginal penetration by a penis. Someone else can encompass oral and anal activities into it. And other people may say "real" sex is the act of physical love, or love making between two people, and without that love and feelings it isn't real sex. But because "real" sex I think is subjective, the stigma behind only heterosexual sex should change. == Now Modernize It == Now about almost 70 years later, the conversation around this should be questioning why Masters and Johnson only did tests with heterosexual people instead of different queer couples and individuals as well. Could we also look into more than just sex with this study by taking a look into the emotional and mental aspect of any and all sexual activities? But now, we need to acknowledge that heterosexual sexual activities should not be what is known as “real” sex since the queer community and even heterosexual couples often have sex differently now, so that experiment isn’t exactly totally accurate anymore. This idea around sex and what sex is should be progressing into a more inclusive mindset, and not be put in a box with rules and certain ways of doing it. == References == <references/> <ref>https://www.washingtonpost.com/archive/entertainment/books/1979/06/17/masters-and-johnson-on-homosexuality/ad08ea86-4f7b-4c9f-b160-f88114706a30/</ref> <ref> Queer: A Graphic History [https://iconbooks.com/ib-title/queer-a-graphic-history/]</ref> 7de5edf6e2972ae317c0143fbe90956fb1d312f5 0 41 314 310 2022-09-26T21:23:16Z Groomesdeja 19 wikitext text/x-wiki = Background = The ''High School Musical'' movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiered in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the ''High School Musical'' franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I am arguing in favor of the former in relation to the ''High School Musical'' film franchise. = ''High School Musical 2'' & Queer Theories = ''High School Musical 2'' situates itself both a traditional sequel, as well as a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused less on auditions for the winter musical, and more on their summer jobs as well as the the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == [[File:Chad & Ryan.png|Chad & Ryan post-clothing exchange]] In the case of High School Musical 2, Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as Taylor, while Ryan is seen becoming closer to supporting character, Kelsi). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to I Don't Dance, Chad is depicted exclusively within heteronormative standards (he is a basketball player, and initially rejects Troy's interest in theatre as seen in the first film). A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. = References = 0669cfd4b77ca3e9c216bc77e7b45ce3246038b7 315 314 2022-09-26T21:23:33Z Groomesdeja 19 wikitext text/x-wiki = Background = The ''High School Musical'' movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiered in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the ''High School Musical'' franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I am arguing in favor of the former in relation to the ''High School Musical'' film franchise. = ''High School Musical 2'' & Queer Theories = ''High School Musical 2'' situates itself both a traditional sequel, as well as a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused less on auditions for the winter musical, and more on their summer jobs as well as the the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == [[File:Chad & Ryan.png|thumb]] In the case of High School Musical 2, Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as Taylor, while Ryan is seen becoming closer to supporting character, Kelsi). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to I Don't Dance, Chad is depicted exclusively within heteronormative standards (he is a basketball player, and initially rejects Troy's interest in theatre as seen in the first film). A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. = References = 30b761d1e27949c67c65007b65e4a4394930917a 331 315 2022-09-28T19:03:27Z Groomesdeja 19 wikitext text/x-wiki = Background = The ''High School Musical'' movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiered in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>[https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the ''High School Musical'' franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University ''Dialogue'' Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I am arguing in favor of the former in relation to the ''High School Musical'' film franchise. = ''High School Musical 2'' & Queer Theories = ''High School Musical 2'' situates itself both a traditional sequel, as well as a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused less on auditions for the winter musical, and more on their summer jobs as well as the the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == [[File:Chad & Ryan.png|thumb]] In the case of High School Musical 2, Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as Taylor, while Ryan is seen becoming closer to supporting character, Kelsi). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to I Don't Dance, Chad is depicted exclusively within heteronormative standards (he is a basketball player, and initially rejects Troy's interest in theatre as seen in the first film). A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. = References = fea984ac4c635f4f9d208befe49270fae6b0040d 332 331 2022-09-28T19:09:09Z Groomesdeja 19 wikitext text/x-wiki = Background = The ''High School Musical'' movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiered in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>[https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the ''High School Musical'' franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University ''Dialogue'' Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I am arguing in favor of the former in relation to the ''High School Musical'' film franchise. = ''High School Musical 2'' & Queer Theories = ''High School Musical 2'' situates itself both a traditional sequel, as well as a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused less on auditions for the winter musical, and more on their summer jobs as well as the the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == [[File:Chad & Ryan.png|thumb]] In the case of High School Musical 2, Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as Taylor, while Ryan is seen becoming closer to supporting character, Kelsi). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to I Don't Dance, Chad is depicted exclusively within heteronormative standards (he is a basketball player, and initially rejects Troy's interest in theatre as seen in the first film). A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> [https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E] Kevin P. Murphy, Jason Ruiz, and David Serlin's ''Radical History Review: Queer Futures''</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. = References = 29a120ee54a3d618d450d5be7d4180c14924b899 333 332 2022-09-28T19:12:11Z Groomesdeja 19 /* Queercoding Ryan Evans & Chad Danforth */ wikitext text/x-wiki = Background = The ''High School Musical'' movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiered in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>[https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the ''High School Musical'' franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University ''Dialogue'' Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I am arguing in favor of the former in relation to the ''High School Musical'' film franchise. = ''High School Musical 2'' & Queer Theories = ''High School Musical 2'' situates itself both a traditional sequel, as well as a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused less on auditions for the winter musical, and more on their summer jobs as well as the the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == [[File:Chad & Ryan.png|thumb]] In the case of High School Musical 2, Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as Taylor, while Ryan is seen becoming closer to supporting character, Kelsi). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to his performance in "I Don't Dance", Chad is depicted exclusively within heteronormative standards (he is a basketball player initially investing in limiting Troy's interest in theatre as seen in the first film). A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> [https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E] Kevin P. Murphy, Jason Ruiz, and David Serlin's ''Radical History Review: Queer Futures''</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. = References = 8c70ac8dc83d7d6a76e46077a2eb1eb5b6c7b953 334 333 2022-09-28T19:13:02Z Groomesdeja 19 /* Queercoding, Defined */ wikitext text/x-wiki = Background = The ''High School Musical'' movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiered in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>[https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the ''High School Musical'' franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University "Dialogue" Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I am arguing in favor of the former in relation to the ''High School Musical'' film franchise. = ''High School Musical 2'' & Queer Theories = ''High School Musical 2'' situates itself both a traditional sequel, as well as a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused less on auditions for the winter musical, and more on their summer jobs as well as the the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == [[File:Chad & Ryan.png|thumb]] In the case of High School Musical 2, Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as Taylor, while Ryan is seen becoming closer to supporting character, Kelsi). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to his performance in "I Don't Dance", Chad is depicted exclusively within heteronormative standards (he is a basketball player initially investing in limiting Troy's interest in theatre as seen in the first film). A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> [https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E] Kevin P. Murphy, Jason Ruiz, and David Serlin's ''Radical History Review: Queer Futures''</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. = References = f10199b8a3609e2aeb755737f5e92201806b83e7 335 334 2022-09-28T19:16:24Z Groomesdeja 19 /* High School Musical 2 & Queer Theories */ wikitext text/x-wiki = Background = The ''High School Musical'' movie franchise is a three-part movie-musical series often regarded as the pinnacle of made-for-television films produced by the children's television network, The Disney Channel. While the first installment premiered in 2006 to both critical and audience acclaim, the sequel, High School Musical 2 remains the highest grossing Disney Channel Original Movie since its premiere in 2007 when it amassed over 17 million views<ref>[https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. This record-shattering premiere then prompted the third, and final, installment, High School Musical 3, to receive a theatrical release in 2008. Following the completion of the trilogy, the ''High School Musical'' franchise has remained a cultural phenomenon among children and adults alike. = Queercoding, Defined = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University "Dialogue" Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I am arguing in favor of the former in relation to the ''High School Musical'' film franchise. = ''High School Musical 2'' & Queer Theories = ''High School Musical 2'' situates itself both a traditional sequel, as well as a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused less on auditions for the winter musical, and more on their summer jobs as well as the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. == Queercoding Ryan Evans & Chad Danforth == [[File:Chad & Ryan.png|thumb]] In the case of ''High School Musical 2'', Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as the character of Taylor, while Ryan is seen eventually becoming closer to supporting character, Kelsi, in the final film). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to his performance in "I Don't Dance", Chad is situated almost exclusively within heteronormative standards (he is a basketball player initially investing in limiting Troy's interest in theatre as seen in the first film). A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> [https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E] Kevin P. Murphy, Jason Ruiz, and David Serlin's ''Radical History Review: Queer Futures''</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal of romance. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. = References = b5b9d40ee74fc69384e91c9c22415647b25c5bd3 0 47 316 2022-09-26T21:38:50Z Luretame 6 Created page with "'''FannyAnn Viola Eddy''' (1974 - September 29th, 2004) was a Sierra Leonean lesbian and gay rights activist and the founder of the Sierra Leone Lesbian and Gay Association (SLLGA), the first organization of its kind in the nation. == Activism == Eddy founded the Sierra Leone Lesbian and Gay Association in 2002. Eddy fought homophobic and transphobic laws in this organization, pointing out how heterosexual and cisgender people were treated better in all aspects of life,..." wikitext text/x-wiki '''FannyAnn Viola Eddy''' (1974 - September 29th, 2004) was a Sierra Leonean lesbian and gay rights activist and the founder of the Sierra Leone Lesbian and Gay Association (SLLGA), the first organization of its kind in the nation. == Activism == Eddy founded the Sierra Leone Lesbian and Gay Association in 2002. Eddy fought homophobic and transphobic laws in this organization, pointing out how heterosexual and cisgender people were treated better in all aspects of life, especially when incarcerated (Darling). The organization also documented harassment and provided social and psychological support to victims of hate and discrimination (Salvo). Eddy herself lobbied government ministers to address the health and civil rights of the queer community (Human Rights Watch), and participated in the All Africa Human Rights Symposium in Johannesburg (Salvo). In April of 2002, Eddy was a part of a delegation of sexual-rights activists and attended the annual United Nations commission in Geneva, Switzerland through the aid of Human Rights Watch and The International Gay and Lesbian Human Rights Commission. Eddy testified through a speech to the Sierra Leonean delegation on lesbian and gay rights. The testimony is as follows: “Distinguished members of the Commission, My name is FannyAnn Eddy and I am representing MADRE. I am also a member of the Sierra Leone Lesbian and Gay Association. I would like to use this opportunity to bring to your attention the dangers vulnerable groups and individuals face not only in my beloved country, Sierra Leone but throughout Africa. My focus of interest is the lesbian, gay, bisexual, and transgender community, which most African leaders do not like to address. In fact, many African leaders do not want to even acknowledge that we exist. Their denial has many disastrous results for our community. We do exist. But because of the denial of our existence, we live in constant fear: fear of the police and officials with the power to arrest and detain us simply because of our sexual orientation. For instance, recently a young gay man was arrested in Freetown for being dressed as a woman. He was held in detention for a full week without any charge being brought. Though I personally was able to argue with the authorities to release him, most people like him would have been held indefinitely because there are very few of us who are able to speak up. We live in fear that our families will disown us, as it is not unusual for lesbian, gay bisexual, and transgender people to be forced out of their family homes when their identity becomes known. Many people who are forced from their homes because of their sexual orientation or gender identity are young with nowhere else to go, and thus become homeless, have no food, and resort to sex work in order to survive. We live in fear within our communities, where we face constant harassment and violence from neighbors and others. Their homophobic attacks go unpunished by authorities, further encouraging their discriminatory and violent treatment of lesbian, gay, bisexual, and transgender people. When African leaders use culture, tradition, religion, and societal norms to deny our existence they send a message that tolerates discrimination, violence, and overall indignity. This denial has especially disastrous results in the context of HIV/AIDS. According to a recent research study published in December 2003 by the Sierra Leone Lesbian and Gay Association in collaboration with Health Way Sierra Leone, 90% of men who have sex with men also have sex with women, either their wives or girlfriends. Of that group, 85% said that they do not use condoms. Clearly, the message of sexual education and transmission of HIV is not delivered to these men in Sierra Leone. It is clear that many men get married not because that is what their inner being desires, but because that is what society demands-because they live in a society which forces them to fear for their freedom or their lives because of their sexual orientation. The silence surrounding them-the refusal to acknowledge their existence or address their health care needs-endangers not only them but their wives and girlfriends. Yet, despite all of the difficulties we face, I have faith that the acknowledgment by the Commission of the inherent dignity and respect due to lesbian, gay people can lead to greater respect for our human rights. As evidenced by the liberation struggle in South Africa, where the constitution bars discrimination based on sexual orientation, respect for human rights can transform society. It can lead people to understand that in the end, we are all human and all entitled to respect and dignity. Silence creates vulnerability. You, members of the Commission on Human Rights, can break the silence. You can acknowledge that we exist, throughout Africa and on every continent, and that human rights violations based on sexual orientation or gender identity are committed every day. You can help us combat those violations and achieve our full rights and freedoms, in every society, including my beloved Sierra Leone.” == Personal Life == At a very young age, Eddy was forced into refuge due to the ongoing civil war in Sierra Leone between 1991 and 2002. In passing, Eddy was survived by her girlfriend, Esther Chikalipa, and her ten-year-old son, who she was described as having called every day when she was away. She was described as a good friend and charismatic to many. In the midst of the oppression she faced, Eddy held on to a love for Sierra Leone (Darling). == Death == On September 29th, 2004, Eddy was found sexually assaulted and stabbed to death in the Freetown SLLGA office (Human Rights Watch). Due to having been sexually assaulted by a group of men and having had her neck snap, sources speculated the murder was a hate crime (King) but the only suspect taken into custody escaped after a couple of days and the police did not classify the murder as a hate crime, ultimately labeling it unsolved (Darling). == Legacy == Scott Long, director of the Lesbian, Gay, Bisexual, and Transgender Rights Project at Human Rights Watch, described Eddy as “a person of extraordinary bravery and integrity, who literally put her life on the line for human rights.” (Human Rights Watch) In her remembrance, the Hirschfield Eddy Foundation, an organization dedicated to protecting the rights of lesbian and gay people worldwide, was founded in 2007. The FannyAnn Poetry Award is also named in her honor (Darling). Eddy’s activism and testimony in Geneva have been explored through rhetoric and literature. In “Secrecy and the Poetics of Witness: Mourning Fanny Ann Eddy” by Dora King, the impact of Eddy’s claim that silence is vulnerability is thoroughly explored through the use of poetry. King outlines homosexuality as a public secret within which homosexuality is tolerated but is not otherwise acceptable, stating in reference to queer identity in society, “We will acknowledge that the secrecy that protects us can someday be the face of the impunity that murders us” (King). e926620065dbc1f51c6d2a528fa8c6059f80277d 320 316 2022-09-26T21:42:42Z Luretame 6 wikitext text/x-wiki '''FannyAnn Viola Eddy''' (June 14th, 1974 - September 29th, 2004) was a Sierra Leonean lesbian and gay rights activist and the founder of the Sierra Leone Lesbian and Gay Association (SLLGA), the first organization of its kind in the nation. == Activism == Eddy founded the Sierra Leone Lesbian and Gay Association in 2002. Eddy fought homophobic and transphobic laws in this organization, pointing out how heterosexual and cisgender people were treated better in all aspects of life, especially when incarcerated (Darling). The organization also documented harassment and provided social and psychological support to victims of hate and discrimination (Salvo). Eddy herself lobbied government ministers to address the health and civil rights of the queer community (Human Rights Watch), and participated in the All Africa Human Rights Symposium in Johannesburg (Salvo). In April of 2002, Eddy was a part of a delegation of sexual-rights activists and attended the annual United Nations commission in Geneva, Switzerland through the aid of Human Rights Watch and The International Gay and Lesbian Human Rights Commission. Eddy testified through a speech to the Sierra Leonean delegation on lesbian and gay rights. The testimony is as follows: “Distinguished members of the Commission, My name is FannyAnn Eddy and I am representing MADRE. I am also a member of the Sierra Leone Lesbian and Gay Association. I would like to use this opportunity to bring to your attention the dangers vulnerable groups and individuals face not only in my beloved country, Sierra Leone but throughout Africa. My focus of interest is the lesbian, gay, bisexual, and transgender community, which most African leaders do not like to address. In fact, many African leaders do not want to even acknowledge that we exist. Their denial has many disastrous results for our community. We do exist. But because of the denial of our existence, we live in constant fear: fear of the police and officials with the power to arrest and detain us simply because of our sexual orientation. For instance, recently a young gay man was arrested in Freetown for being dressed as a woman. He was held in detention for a full week without any charge being brought. Though I personally was able to argue with the authorities to release him, most people like him would have been held indefinitely because there are very few of us who are able to speak up. We live in fear that our families will disown us, as it is not unusual for lesbian, gay bisexual, and transgender people to be forced out of their family homes when their identity becomes known. Many people who are forced from their homes because of their sexual orientation or gender identity are young with nowhere else to go, and thus become homeless, have no food, and resort to sex work in order to survive. We live in fear within our communities, where we face constant harassment and violence from neighbors and others. Their homophobic attacks go unpunished by authorities, further encouraging their discriminatory and violent treatment of lesbian, gay, bisexual, and transgender people. When African leaders use culture, tradition, religion, and societal norms to deny our existence they send a message that tolerates discrimination, violence, and overall indignity. This denial has especially disastrous results in the context of HIV/AIDS. According to a recent research study published in December 2003 by the Sierra Leone Lesbian and Gay Association in collaboration with Health Way Sierra Leone, 90% of men who have sex with men also have sex with women, either their wives or girlfriends. Of that group, 85% said that they do not use condoms. Clearly, the message of sexual education and transmission of HIV is not delivered to these men in Sierra Leone. It is clear that many men get married not because that is what their inner being desires, but because that is what society demands-because they live in a society which forces them to fear for their freedom or their lives because of their sexual orientation. The silence surrounding them-the refusal to acknowledge their existence or address their health care needs-endangers not only them but their wives and girlfriends. Yet, despite all of the difficulties we face, I have faith that the acknowledgment by the Commission of the inherent dignity and respect due to lesbian, gay people can lead to greater respect for our human rights. As evidenced by the liberation struggle in South Africa, where the constitution bars discrimination based on sexual orientation, respect for human rights can transform society. It can lead people to understand that in the end, we are all human and all entitled to respect and dignity. Silence creates vulnerability. You, members of the Commission on Human Rights, can break the silence. You can acknowledge that we exist, throughout Africa and on every continent, and that human rights violations based on sexual orientation or gender identity are committed every day. You can help us combat those violations and achieve our full rights and freedoms, in every society, including my beloved Sierra Leone.” == Personal Life == At a very young age, Eddy was forced into refuge due to the ongoing civil war in Sierra Leone between 1991 and 2002. In passing, Eddy was survived by her girlfriend, Esther Chikalipa, and her ten-year-old son, who she was described as having called every day when she was away. She was described as a good friend and charismatic to many. In the midst of the oppression she faced, Eddy held on to a love for Sierra Leone (Darling). == Death == On September 29th, 2004, Eddy was found sexually assaulted and stabbed to death in the Freetown SLLGA office (Human Rights Watch). Due to having been sexually assaulted by a group of men and having had her neck snap, sources speculated the murder was a hate crime (King) but the only suspect taken into custody escaped after a couple of days and the police did not classify the murder as a hate crime, ultimately labeling it unsolved (Darling). == Legacy == Scott Long, director of the Lesbian, Gay, Bisexual, and Transgender Rights Project at Human Rights Watch, described Eddy as “a person of extraordinary bravery and integrity, who literally put her life on the line for human rights.” (Human Rights Watch) In her remembrance, the Hirschfield Eddy Foundation, an organization dedicated to protecting the rights of lesbian and gay people worldwide, was founded in 2007. The FannyAnn Poetry Award is also named in her honor (Darling). Eddy’s activism and testimony in Geneva have been explored through rhetoric and literature. In “Secrecy and the Poetics of Witness: Mourning Fanny Ann Eddy” by Dora King, the impact of Eddy’s claim that silence is vulnerability is thoroughly explored through the use of poetry. King outlines homosexuality as a public secret within which homosexuality is tolerated but is not otherwise acceptable, stating in reference to queer identity in society, “We will acknowledge that the secrecy that protects us can someday be the face of the impunity that murders us” (King). == References == 83873f67ecc50a74645b2175dc55d4428e31184c 321 320 2022-09-26T21:59:29Z Luretame 6 wikitext text/x-wiki '''FannyAnn Viola Eddy''' (June 14th, 1974 - September 29th, 2004) was a Sierra Leonean lesbian and gay rights activist and the founder of the Sierra Leone Lesbian and Gay Association (SLLGA), the first organization of its kind in the nation <ref>FannyAnn Viola Eddy: Speaking Against Silence [https://www.makingqueerhistory.com/articles/2016/12/20/fannyann-viola-eddy-speaking-against-silence]</ref>. == Activism == Eddy founded the Sierra Leone Lesbian and Gay Association in 2002. Eddy fought homophobic and transphobic laws in this organization, pointing out how heterosexual and cisgender people were treated better in all aspects of life, especially when incarcerated <ref>FannyAnn Viola Eddy: Speaking Against Silence [https://www.makingqueerhistory.com/articles/2016/12/20/fannyann-viola-eddy-speaking-against-silence]</ref>. The organization also documented harassment and provided social and psychological support to victims of hate and discrimination. Eddy herself lobbied government ministers to address the health and civil rights of the queer community, and participated in the All Africa Human Rights Symposium in Johannesburg. In April of 2002, Eddy was a part of a delegation of sexual-rights activists and attended the annual United Nations commission in Geneva, Switzerland through the aid of Human Rights Watch and The International Gay and Lesbian Human Rights Commission. Eddy testified through a speech to the Sierra Leonean delegation on lesbian and gay rights. The testimony is as follows: “Distinguished members of the Commission, My name is FannyAnn Eddy and I am representing MADRE. I am also a member of the Sierra Leone Lesbian and Gay Association. I would like to use this opportunity to bring to your attention the dangers vulnerable groups and individuals face not only in my beloved country, Sierra Leone but throughout Africa. My focus of interest is the lesbian, gay, bisexual, and transgender community, which most African leaders do not like to address. In fact, many African leaders do not want to even acknowledge that we exist. Their denial has many disastrous results for our community. We do exist. But because of the denial of our existence, we live in constant fear: fear of the police and officials with the power to arrest and detain us simply because of our sexual orientation. For instance, recently a young gay man was arrested in Freetown for being dressed as a woman. He was held in detention for a full week without any charge being brought. Though I personally was able to argue with the authorities to release him, most people like him would have been held indefinitely because there are very few of us who are able to speak up. We live in fear that our families will disown us, as it is not unusual for lesbian, gay bisexual, and transgender people to be forced out of their family homes when their identity becomes known. Many people who are forced from their homes because of their sexual orientation or gender identity are young with nowhere else to go, and thus become homeless, have no food, and resort to sex work in order to survive. We live in fear within our communities, where we face constant harassment and violence from neighbors and others. Their homophobic attacks go unpunished by authorities, further encouraging their discriminatory and violent treatment of lesbian, gay, bisexual, and transgender people. When African leaders use culture, tradition, religion, and societal norms to deny our existence they send a message that tolerates discrimination, violence, and overall indignity. This denial has especially disastrous results in the context of HIV/AIDS. According to a recent research study published in December 2003 by the Sierra Leone Lesbian and Gay Association in collaboration with Health Way Sierra Leone, 90% of men who have sex with men also have sex with women, either their wives or girlfriends. Of that group, 85% said that they do not use condoms. Clearly, the message of sexual education and transmission of HIV is not delivered to these men in Sierra Leone. It is clear that many men get married not because that is what their inner being desires, but because that is what society demands-because they live in a society which forces them to fear for their freedom or their lives because of their sexual orientation. The silence surrounding them-the refusal to acknowledge their existence or address their health care needs-endangers not only them but their wives and girlfriends. Yet, despite all of the difficulties we face, I have faith that the acknowledgment by the Commission of the inherent dignity and respect due to lesbian, gay people can lead to greater respect for our human rights. As evidenced by the liberation struggle in South Africa, where the constitution bars discrimination based on sexual orientation, respect for human rights can transform society. It can lead people to understand that in the end, we are all human and all entitled to respect and dignity. Silence creates vulnerability. You, members of the Commission on Human Rights, can break the silence. You can acknowledge that we exist, throughout Africa and on every continent, and that human rights violations based on sexual orientation or gender identity are committed every day. You can help us combat those violations and achieve our full rights and freedoms, in every society, including my beloved Sierra Leone.” == Personal Life == At a very young age, Eddy was forced into refuge due to the ongoing civil war in Sierra Leone between 1991 and 2002. In passing, Eddy was survived by her girlfriend, Esther Chikalipa, and her ten-year-old son, who she was described as having called every day when she was away. She was described as a good friend and charismatic to many. In the midst of the oppression she faced, Eddy held on to a love for Sierra Leone <ref>FannyAnn Viola Eddy: Speaking Against Silence [https://www.makingqueerhistory.com/articles/2016/12/20/fannyann-viola-eddy-speaking-against-silence]</ref>. == Death == On September 29th, 2004, Eddy was found sexually assaulted and stabbed to death in the Freetown SLLGA office <ref>Sierra Leone: Lesbian Rights Activist Brutally Murdered [https://www.hrw.org/news/2004/10/05/sierra-leone-lesbian-rights-activist-brutally-murdered]</ref>. Due to having been sexually assaulted by a group of men and having had her neck snap, sources speculated the murder was a hate crime <ref>Secrecy and the Poetics of Witness: Mourning Fanny Ann Eddy [https://africafaith.org.za/secrecy-and-the-poetics-of-witness-mourning-fanny-ann-eddy/]</ref> but the only suspect taken into custody escaped after a couple of days and the police did not classify the murder as a hate crime, ultimately labeling it unsolved <ref>FannyAnn Viola Eddy: Speaking Against Silence [https://www.makingqueerhistory.com/articles/2016/12/20/fannyann-viola-eddy-speaking-against-silence]</ref>. == Legacy == Scott Long, director of the Lesbian, Gay, Bisexual, and Transgender Rights Project at Human Rights Watch, described Eddy as “a person of extraordinary bravery and integrity, who literally put her life on the line for human rights.” <ref>Sierra Leone: Lesbian Rights Activist Brutally Murdered [https://www.hrw.org/news/2004/10/05/sierra-leone-lesbian-rights-activist-brutally-murdered]</ref> In her remembrance, the Hirschfield Eddy Foundation, an organization dedicated to protecting the rights of lesbian and gay people worldwide, was founded in 2007. The FannyAnn Poetry Award is also named in her honor <ref>FannyAnn Viola Eddy: Speaking Against Silence [https://www.makingqueerhistory.com/articles/2016/12/20/fannyann-viola-eddy-speaking-against-silence]</ref>. Eddy’s activism and testimony in Geneva have been explored through rhetoric and literature. In “Secrecy and the Poetics of Witness: Mourning Fanny Ann Eddy” by Dora King, the impact of Eddy’s claim that silence is vulnerability is thoroughly explored through the use of poetry. King outlines homosexuality as a public secret within which homosexuality is tolerated but is not otherwise acceptable, stating in reference to queer identity in society, “We will acknowledge that the secrecy that protects us can someday be the face of the impunity that murders us” <ref>Secrecy and the Poetics of Witness: Mourning Fanny Ann Eddy [https://africafaith.org.za/secrecy-and-the-poetics-of-witness-mourning-fanny-ann-eddy/]</ref>. == References == 8a8476ba9663a2cecbf3a80a976f7f082e6aa1ce 0 2 318 235 2022-09-26T21:40:02Z Luretame 6 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Monday, September 26th, 2022 === BB === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! == '''Monday, September 19, 2022''' == AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 004f9529337faf561fa637a863f9ddd6d794e497 322 318 2022-09-26T22:21:39Z Luretame 6 /* Monday, September 26th, 2022 */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Christine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! == '''Monday, September 19, 2022''' == AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> ef0c8d8e0746d584835681e3cadace478548377d 340 322 2022-09-28T22:05:07Z Luretame 6 /* Monday, September 26th, 2022 */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! == '''Monday, September 19, 2022''' == AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> c266ed2102c928173d9d27ee45d4c60d4d0942f0 347 340 2022-10-03T19:58:57Z Chloestarcloud 11 /* Logs */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === CC The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! == '''Monday, September 19, 2022''' == AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> f5b4dd9397de83e2a8efd43cc1e041d5a822967c 348 347 2022-10-03T19:59:48Z Chloestarcloud 11 /* Wednesday, September 28th, 2022 */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! == '''Monday, September 19, 2022''' == AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> b01438d3daa4866ab6dbc8e9762059b33ea5c9f0 0 31 323 257 2022-09-28T01:23:48Z Anelco 22 wikitext text/x-wiki ==== Introduction ==== AC In the book, "Translating the queer: Body Politics and Transnational Conversation", there is a usage of the words decolonizing and coloniality. Latin American people interact inside of coloniality. Meaning that there is still the idea that those who do not fit in with the white standards that the colonizers upheld are considered lesser. However, at the same, there is a movement for decolonization, "be understood as a result of abolishing forms of homophobia that are ingrained in the culture as a result of colonial patriarchal imposition." This means to get rid of the ways colonizers use to label and certain a group of people based on how they looked and other attributes. While there is still the idea of basing people in a higher rank in society based on their looks, it is not adding to sexuality. Queer and trans people are being targeted even more because of multiple oppressive things against them. There is a high number of queer people who are killed because of their identity because certain Latin American places continue to hold white standards of what is ‘normal’. ==== Celebrities ==== If there’s one queer space that Latinx people have shaped, it’s the ballroom scene. There are so many people in the community that has contributed to this scene, including Angie Xtravaganza, who grew up in New York with a Puerto Rican family. When Angie founded the House of Xtravaganza, she was the youngest of the legendary mothers and made the group the city’s premier Latina house. Angie died from a complication of AID, though it was suspected it was due to black-marketed hormones she was taking. Juan Gabriel is a Mexican singer, but I want to mention him because he was talked about a lot because many people assumed his sexuality. His appearance was feminine, and his dancing was labeled as flamboyant, and it never hid this either when he performed. For a lot of queer people, Juan Gabriel reminded people that it is okay to exist outside of confining expectations of gender and sexuality. He never once confirmed that he was a part of the LGBTQ+ because he believed that not everything had to do with labels and fitting into the binary. “Juan Gabriel became a symbol of Latino/a queer subjectivity by “being” and “being seen” as “queer” but never explicitly “coming out” in the US mainstream sense.” ==== Authors ==== Gloria Anzaldua states, “Queer decolonization focuses on that system of differences, making visible the obsolescence of a binary asymmetrical order and emphasizing the importance of building bridges in order to neutralize exclusionary practices.” While Anzaldua is not considered Latina or Latinx, she is a Chicana, and her work can be used in many examples of Latino/a/x or Queer conversations. I picked this quote from Anzaldua because they thought it was important to make connections with differences instead of separating them. ==== Conclusion ==== “Issues of intersexuality, which interrogates the heteronormative, constraints of the binary order of differentiation, have also been ... in addition, studies of disabilities and body transformation.” Adding this talks about things that are contained within the binary and there is talk of things that are not in the binary. dc39fcafd253594a809715ae995e6dcb16ae13c2 0 39 324 229 2022-09-28T14:44:03Z Chloestarcloud 11 wikitext text/x-wiki In the words of Franca Sozzani, “Fashion is a mirror of the era in which we live". Fashion is a reflection of social reality. It evolves with the world around it and has the power to tell stories of historical significance while simultaneously unfolding the future. Fashion is society. Those in the fashion industry have the responsibility to take inspiration from people across the globe just as much as they are responsible for inspiring them. But with the prevalence of social media, the line that once divided the insiders and outsiders of the fashion industry has blurred- making the industry more expansive than ever before. == Previous Industry Ideals == Vogue <ref>[https://www.vogue.com/fashion]>> == Public Scrutiny == == Queer Fashion Industry Executives == == Fashion Brands == == Fashion Designers == == Models and Influencers == == References == <references/>https://www.vogue.com/fashion b307f5e50923c8248ac9ccf28e263b040b502c46 0 48 325 2022-09-28T15:45:22Z Efbanks 5 Created page with "Political Lesbianism == overview == == Sexuality == ==Love your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism == == Sheila Jeffreys == == references == <references/>" wikitext text/x-wiki Political Lesbianism == overview == == Sexuality == ==Love your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism == == Sheila Jeffreys == == references == <references/> 2d977d63c5d8c633646476bf4eb5ab2aab968d15 326 325 2022-09-28T15:45:56Z Efbanks 5 /* overview */ wikitext text/x-wiki Political Lesbianism == overview == Political Lesbianism can be referred to as “someone who chose to center her political, emotional, and sexual loyalties with other women even if she had not previously understood or experienced her sexual desire in these terms.” (Lavender and Red; Emily K. Hobson). Political Lesbianism began in the Second Wave Radical Feminist Movement in the 1960’s. The term suggests that sexual orientation is a choice. Political Lesbians believe that men are the root of evil. Women who practice Political Lesbianism are encouraged to stay away from men sexually, and in every other regard as well. By choosing to avoid men, Political Lesbians wish to dismantle the patriarchy. == Sexuality == ==Love your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism == == Sheila Jeffreys == == references == <references/> 06f0d4283484600f5d2d9dcd023bd1b7eca1ab81 327 326 2022-09-28T15:46:19Z Efbanks 5 /* Sexuality */ wikitext text/x-wiki Political Lesbianism == overview == Political Lesbianism can be referred to as “someone who chose to center her political, emotional, and sexual loyalties with other women even if she had not previously understood or experienced her sexual desire in these terms.” (Lavender and Red; Emily K. Hobson). Political Lesbianism began in the Second Wave Radical Feminist Movement in the 1960’s. The term suggests that sexual orientation is a choice. Political Lesbians believe that men are the root of evil. Women who practice Political Lesbianism are encouraged to stay away from men sexually, and in every other regard as well. By choosing to avoid men, Political Lesbians wish to dismantle the patriarchy. == Sexuality == Political lesbians are a subsection of radical feminism. They believe that sexuality is a choice, and they choose to reject heterosexuality. Political lesbians are mainly lesbians, however, asexual and celibate women can also identify as political lesbians. (Love your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism). Political lesbians believe that men acquire their power mainly throughout sexuality. Their belief stems from the understanding of dominance and submission within sex, in which men are predominantly the dominant figures. By actively choosing to not have sex with men, political lesbians believe to empower women. Beyond this, political lesbians believe that sex is at the center of society, so refusing men sex will overall diminish their power. ==Love your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism == == Sheila Jeffreys == == references == <references/> 1ad2aefbe7e566c5e1d6b566d87b48d9755df46b 328 327 2022-09-28T15:46:41Z Efbanks 5 /* Love your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism */ wikitext text/x-wiki Political Lesbianism == overview == Political Lesbianism can be referred to as “someone who chose to center her political, emotional, and sexual loyalties with other women even if she had not previously understood or experienced her sexual desire in these terms.” (Lavender and Red; Emily K. Hobson). Political Lesbianism began in the Second Wave Radical Feminist Movement in the 1960’s. The term suggests that sexual orientation is a choice. Political Lesbians believe that men are the root of evil. Women who practice Political Lesbianism are encouraged to stay away from men sexually, and in every other regard as well. By choosing to avoid men, Political Lesbians wish to dismantle the patriarchy. == Sexuality == Political lesbians are a subsection of radical feminism. They believe that sexuality is a choice, and they choose to reject heterosexuality. Political lesbians are mainly lesbians, however, asexual and celibate women can also identify as political lesbians. (Love your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism). Political lesbians believe that men acquire their power mainly throughout sexuality. Their belief stems from the understanding of dominance and submission within sex, in which men are predominantly the dominant figures. By actively choosing to not have sex with men, political lesbians believe to empower women. Beyond this, political lesbians believe that sex is at the center of society, so refusing men sex will overall diminish their power. ==Love your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism == Love your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism, also referred to as LYE, is a pamphlet mainly written by Sheila Jeffreys and assembled by the Leeds Revolutionary Feminist group. The pamphlet is written with aggressive diction in order to present a strong message against heterosexuality. This pamphlet makes controversial claims such as “Men are the enemy. Heterosexual women are collaborators with the enemy.” (Love your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism). The pamphlet is written in “Q&A” format in which the author clarifies questions and concerns that some may have about political feminism. LYE is trying to convince readers that men’s involvement in sex is much deeper than they could realize. == Sheila Jeffreys == == references == <references/> dceb596a64cef4a2edbafbdcf5e7cca0d330fda1 329 328 2022-09-28T15:47:03Z Efbanks 5 /* Sheila Jeffreys */ wikitext text/x-wiki Political Lesbianism == overview == Political Lesbianism can be referred to as “someone who chose to center her political, emotional, and sexual loyalties with other women even if she had not previously understood or experienced her sexual desire in these terms.” (Lavender and Red; Emily K. Hobson). Political Lesbianism began in the Second Wave Radical Feminist Movement in the 1960’s. The term suggests that sexual orientation is a choice. Political Lesbians believe that men are the root of evil. Women who practice Political Lesbianism are encouraged to stay away from men sexually, and in every other regard as well. By choosing to avoid men, Political Lesbians wish to dismantle the patriarchy. == Sexuality == Political lesbians are a subsection of radical feminism. They believe that sexuality is a choice, and they choose to reject heterosexuality. Political lesbians are mainly lesbians, however, asexual and celibate women can also identify as political lesbians. (Love your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism). Political lesbians believe that men acquire their power mainly throughout sexuality. Their belief stems from the understanding of dominance and submission within sex, in which men are predominantly the dominant figures. By actively choosing to not have sex with men, political lesbians believe to empower women. Beyond this, political lesbians believe that sex is at the center of society, so refusing men sex will overall diminish their power. ==Love your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism == Love your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism, also referred to as LYE, is a pamphlet mainly written by Sheila Jeffreys and assembled by the Leeds Revolutionary Feminist group. The pamphlet is written with aggressive diction in order to present a strong message against heterosexuality. This pamphlet makes controversial claims such as “Men are the enemy. Heterosexual women are collaborators with the enemy.” (Love your Enemy? The Debate Between Heterosexual Feminism and Political Lesbianism). The pamphlet is written in “Q&A” format in which the author clarifies questions and concerns that some may have about political feminism. LYE is trying to convince readers that men’s involvement in sex is much deeper than they could realize. == Sheila Jeffreys == Sheila Jeffreys is an activist, author, and former professor of political science. Jeffreys helped write a multitude of feminist books alongside her contribution in LYE. Jeffreys has faced backlash from other Radical Feminists alongside others. The majority of Jeffreys’ works have centered around the idea of how to overthrow the patriarchy. == references == <references/> 88901f7cc016e45dae88d5abc31e2d5d00a0c330 0 35 330 285 2022-09-28T17:47:30Z Sofun 15 wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == Founders == "In July of 2011, Jack Evans and George Harris proposed the idea that “someone ought to collect the GLBT history of Dallas.” On Thursday, August 25, 2011, at 4PM, Jack hosted a meeting at Resource Center Dallas where he shared his idea with 17 curious attendees, who, in turn, shared colorful stories of their own. A follow-up meeting was scheduled for Thursday, Sept 15, 2011 at 6pm in the Great Room at the ilume, located at 4123 Cedar Springs (room reservation arranged by Tony Vedda, Chairman of the North Texas GLBT Chamber of Commerce). 31 enthusiastic people attended this meeting. This informal meeting was repeated, monthly, on October 20, November 10, and December 8 of 2011. Carl Parker, who realized we needed a smaller group to meet more often than the larger monthly community group meetings, gathered Mike Anglin, Buddy Mullino, and Robert Emery, along with Jack & George." Each individual holds their own role within the organization that changes over the years due to the organization growing. Written by Robert Emery == Stories == I did an internship with this organization. While I was working with the organization, I changed two individuals' oral stories into written ones. One of the individuals I worked with was Pamela Curry. She is an individual who brought the financial side of AIDS to light. Pamela Curry; Pamela Curry is a trans woman but also an activist within her community. Her story begins with a crisis of faith and ends with Pamela holding the first Transgender Day of Remembrance (TDOR) in Dallas, Texas through the Cathedral of Hope. She grew up believing in the Catholic religion. However, when she was sitting in a lecture, she noticed this crisis of faith even though she had been struggling with her identity for a long time. Pamela knew it was Satan but it did not matter how many rosaries she said; the feeling did not go away. Pamela returned back to the Dallas area in 2001 after spending fourteen months in Austin trying to escape a bad relationship. This relationship was filled with alcoholism and abuse. While in Austin, she started going to church again and had her first meeting with an organization called Act Now, a national initiative that supports community groups and organizations working together to reimagine what their communities can become. At this meeting, she was told by a man that the organization did not need “her nor her kind”. When she returned to Dallas, she began attending Cathedral of Hope, which is the largest LGBTQ serving church in the world (https://cathedralofhope.com). Pamela started to get involved even though she was hesitant since she had never attended a church of this size. In November of 2001, Pamela was talking to a friend in an American Online trans chat room. This friend, who had been one of the so-called “Screaming Queens” at the Compton’s Cafeteria riots in 1966 San Francisco, introduced Pamela to Transgender Day of Remembrance, an internatinal event held annually in November to remember and memorialize thise who are killed by anti-trans violence. Shortly after this conversation, another friend of Pamela’s who lived in Houston prompted Pamela: “You’ve got that big, beatuiful church in Dallas, how come there is not Transgender Day of Remembrance?” As a new member who did not know anybody, Pamela knew she could not make it happen that year but she committed to making it happen the following year. Pamela approached an individual at the church named Linda Freeman. She told Linda she needed to make this happen but how did she do it and who did she need to talk to? Linda suggested that Pamela talked to Reverend Mona West. Pamela asked Linda to accompany her to the meeting since she did not know Reverend West. After making the meeting and giving the pitch, Reverend West agreed they needed to make this day happen. On November 24. 2002, as a result of Pamela Curry’s advocacy and action, Cathedral of Hope hosted Dallas’s first ever Transgender Day of Remembrance. 2002 was a busy year for Pamela and her community. This was the year that Sesame Workshop, the non-profit that produces the show Sesame Street, announced they were bringing a new Muppet to their South African show, Takalani Sesame: an HIV+ muppet named Kami. This character was meant to destigmatize HIV in a region that was being decimated by AIDS. The Republican party during this time signed off on the attack of Kami which is where Pamela started her activist campaign. She wrote every Republican a letter who signed off on the attack. She also sent the same copies of the letter to PBS, Public Broadcasting Service, and Sesame Workshop. Shortly after these letters, she received a call from POZ Magazine. POZ Magazine is a magazine that shares the lives of people affected by HIV/AIDS; they also share daily news, treatment options, forums. blogs, personals. Her article appeared in POZ magazine in October of 2002 titled “Mup Roar” which started with “Did she get it from Gover? We may never find out” (https://www.poz.com/article/Mup-Roar-976-7363). News of this Muppet caused a week-long uproar, in July, in the United States. The United States Sesame Workshop announced they would not be debuting this Muppet but PBS, Pat Mitchell, said he would not permanently rule out how to tell the Muppet to get on Sesame Street. HIV positive parents in the US such as Pamela Curry of Dallas, Texas called this move to be nothing but an attempt of tactical strong-arm censorship. The article Pamela wrote for POZ magazine was her first actual action for HIV advocacy and it was defending a Muppet. A couple of months after the first TDOR Pamela got invited to a meeting at HHS which is now the AIDS Coalition of Texas. She got invited because of her article on the Muppet. Compared to her last meeting where she was told they did not need her kind, at this meeting, Pamela was told by the brother of the founder that they needed everybody so she got on the bus. In January 2003, she headed to this meeting with a poster. With this poster, Pamela gave her speech. “My name is Pamela Curry, I am a forty-five year old transsexual female, a resident of the city and county of Dallas in addition to being uh well diagnosed with HIV in 97. I’m an active member of the Cathedral of Hope, the Dallas Transgender Alliance, and I want to thank Act Now for providing the means for me to be here today. We cannot afford cuts to the Texas HIV medication program. I hope you like the visual aids provided by many of the previous speakers...” Her speech continued with information about her financials with the costs of needed medications. She explained that her social security check in 2003 was a thousand four dollars and at Tom Thumb right down the street the AZT medication was one hundred and twenty-two dollars a month, her generics was three hundred and fifty dollars a month, her norvir was one hundred and twenty-eight, my ziongin was four hundred and four. With those costs, her medications already surpassed her check. The listed expenses did not include a place to live or food to eat. Before her speech, all of the news media left then reentered during. They thought all of the individuals worth taking pictures of had already gone but they captured a photo of her holding her poster. Almost every newspaper in the state had her picture on the front page and the next week she was on the front page of The Dallas Morning News. A couple of weeks after the articles she got a call asking to be a regional coordinator for ACT NOW. Pamela still received a lot of pushback in her position because they believed they did not need her “kind”. The same man from Fort Worth that told her they did not need her kind in 1999 was upset because she went over him in position, authority, and pay. Eventually, the hostility from leadership became enough and it brought her to quit. Then she received a phone call from the executive director, legislative coordinator who replaced the individual with an alcohol problem, three days later that they wanted to take her out to eat where they asked for her back. She apologized and said that she could not because she had someone in Fort Worth who would not even work for her so they created her a new position but there was still a problem. The executive director had a drug problem that led him to be fired in 2004. On January 8th, 2005, she was at a meeting at the Marriott Hotel with Reverend Culberson, Mr. Lorenzo Sia’s -a pharmaceutical representative -from El Paso, and Dr. Amid from Houston where they created a new organization. While they were speaking about a budget, someone called them from Houston and told them they needed a capital day event but they had to change their name. They had their event, Transgender Day of Remembrance, so they changed their name to Texas Age Advocacy Coalition. Articles on the majority of all past and present TDOR events can be found on https://dallasvoice.com. In 2004, Pamela was in a patient advocacy summit in Philadelphia. They interviewed her with the question, “Why do you advocate for people?” She replied with, “It’s simple. The same reason I help anybody is because someday I may be too weak, too sick, too ill to speak for myself.” When Pamela helps any of her sisters with a document for name change, gender marker change, or anything when they always come back and ask how they could thank her. Pamela tells and encourages all to empower and help someone else! == How to Become Involved == Their website gives many options to become involved in their organization. Some of their listings even include what your money would be going to which is neat to see. One of the easiest ways to become involved is to be a member. The members range from student, scholar, librarian, curator, archivist, and historian. Student is the cheapest rate with each gradually increasing from there in value and work it can produce. For example, the student membership is thirty-five dollars and helps create one page for the archives. If someone does not want to identify themselves as a member, they can also choose to be a donor with any amount they choose. The other option that requires no money is volunteering for the organization. Money donations go towards, but not limited to, the website, invitations to events, events, video equipment, UNT, etc. == Photos == == References == <references/> 9ab0bab1d9c853285bdd042c185f82fd1b2de3f0 0 33 339 300 2022-09-28T19:56:09Z Brwilson1 12 wikitext text/x-wiki Gerrit Lansing was an American poet, editor, business owner, and professor who was born in Albany, New York in 1928 and passed away in Gloucester, Massachusetts in 2018.<ref>https://www.poetryfoundation.org/poets/gerrit-lansing</ref> ==Personal Life== Gerrit Lansing was born in Albany, New York February 25, 1928. His father, Charles B. Lansing, worked as an engineer consultant, but later served as Chairman of the Western Reserve University board of trustees. This led to Gerrit moving to Ohio for a bit of time until he moved to attend college at Harvard. During his time at Columbia in New York, he spent a lot of time with other poets, such as Frank O’ Hara (another queer poet) and John Ashbery. As his social circle began to grow, so did his opportunities and inspirations. He befriended Charles Olson, another poet, who taught Lansing astrology and tarot readings, which influence Lansing’s work. Lansing eventually met Deryk Burton who he fell in love with. They met at the Studio Restaurant on Rock Neck. Burton was a sailor from England so they spent their weekends sailing together and spending time in Florida.As partners, they moved to Massachusetts where Lansing passed away on February 11, 2018.<ref>https://www.chicagoreview.org/how-to-manage-the-heat-on-gerrit-lansing/</ref> ==Education and Career== Gerit Lansing attended Harvard University and then pursued his master’s degree at Columbia University, which he obtained in 1955. While working on his masters he worked at the Columbia University Press. During his time in New York after graduation, he met many people, such as John LaTouche. LaTouche hired Lansing to create a film based on H.P Lovecraft’s writing. He also edited SET in the 1960s for his friend Charles Olson <ref>https://www.poetryfoundation.org/harriet-books/2018/02/rip-gerrit-lansing-1928-2018</ref>. Charles Olson, who sparked Lansings interest in tarot and astrology, led to Lansing opening his own bookstore. Using his interest in tarot, astrology, magic, and philosophy he opened Abraxas Books in Massachusetts.<ref>https://archives.yale.edu/agents/people/97066</ref> He wrote his own books of poetry in the years of 1995-2009. He also taught at Bard College until he passed away in 2018.<ref>https://www.poetryfoundation.org/harriet-books/2018/02/rip-gerrit-lansing-1928-2018</ref> ==Poetry== Gerrit Lansing wrote 3 books of poetry. His first book ''Heavenly Tree/Soluble Forest'' came out in 1995. In 2002 he worked on another project, slightly different from his last <ref>https://www.poetryfoundation.org/poets/gerrit-lansing</ref>. Lansing, along with Nora Ligorano and Marshall Reese, wrote ''Turning Leaves of Minds'', which is an art book including archives and photographs. Lansing wrote the poem that is included in the book <ref>https://library.louisville.edu/artists-books/turning-leaves-of-mind</ref>. He then wrote ''A February Sheaf'' in 2003, which is a collection of different genres. His last book was ''Heavenly Tree, Northern Earth'' published in 2009. His poem “A Poem of Love in Eleven Lines” is featured on the Poetry Foundation website under “Queer Poems.” He also has 3 other poems featured, “From Under the Mat Where Sat the Cat,” “The Great From is Without Shape,” and “How We Sizzled in the Pasture.”<ref>https://www.poetryfoundation.org/poets/gerrit-lansing</ref> ==Influence== 3rian King met Lansing in Abraxas Books. From their first meeting, Lansing had a huge influence on King’s life. He showed him that there was so much in the world besides their small town. In addition, King had never met a gay man before. He credits Lansing to introducing him to queer writers and artists, which King is now. He says seeing Lansing and Deryk together was “affirming and enriching.” Timotha Doane met Lansing while figuring out her own sexuality and in the middle of coming out. She credits Lansing as someone who taught her to “make my life my own” and led her to discover many different aspects of herself and life. <ref>https://gregcookland.com/wonderland/2018/03/02/gerrit-lansing-3/</ref> Not only did he have influence in his friends’ lives, but also in others through his work. His poem “A Poem of Love in Eleven Lines” is featured on a popular poetry website ''Poetry Foundation''. Lansing’s poems showed a pure and passionate love, as well as queer representation in poetry. During a time when it was unacceptable to be queer, Lansing was accepting and open about himself. He left an impact on those closest to him, no matter their age, and on those who have read his work. Lansing made an impact on many people in his personal life, as well as through his poetry. He provided a special connection to many people that they weren't able to find before. He was a mentor to many. Through his poetry, he has been able to make an impact on young queer people who are able to find ways to express themselves in different ways. He was the first poet I read that was queer which led me to wanting to learn more about him and who he was. From those that know him, he was someone who made a lasting impact on their lives and gave them the freedom to express themselves. ==References== 64c340ca556dda1c7014b080a835f6f849be53c1 828 152 1026 2022-09-29T01:57:36Z wikipedia>Andrybak 0 update code comment according to [[Special:Diff/989669779]] Scribunto text/plain -- This module implements {{documentation}}. -- Get required modules. local getArgs = require('Module:Arguments').getArgs -- Get the config table. local cfg = mw.loadData('Module:Documentation/config') local p = {} -- Often-used functions. local ugsub = mw.ustring.gsub ---------------------------------------------------------------------------- -- Helper functions -- -- These are defined as local functions, but are made available in the p -- table for testing purposes. ---------------------------------------------------------------------------- local function message(cfgKey, valArray, expectType) --[[ -- Gets a message from the cfg table and formats it if appropriate. -- The function raises an error if the value from the cfg table is not -- of the type expectType. The default type for expectType is 'string'. -- If the table valArray is present, strings such as $1, $2 etc. in the -- message are substituted with values from the table keys [1], [2] etc. -- For example, if the message "foo-message" had the value 'Foo $2 bar $1.', -- message('foo-message', {'baz', 'qux'}) would return "Foo qux bar baz." --]] local msg = cfg[cfgKey] expectType = expectType or 'string' if type(msg) ~= expectType then error('message: type error in message cfg.' .. cfgKey .. ' (' .. expectType .. ' expected, got ' .. type(msg) .. ')', 2) end if not valArray then return msg end local function getMessageVal(match) match = tonumber(match) return valArray[match] or error('message: no value found for key $' .. match .. ' in message cfg.' .. cfgKey, 4) end return ugsub(msg, '$([1-9][0-9]*)', getMessageVal) end p.message = message local function makeWikilink(page, display) if display then return mw.ustring.format('[[%s|%s]]', page, display) else return mw.ustring.format('[[%s]]', page) end end p.makeWikilink = makeWikilink local function makeCategoryLink(cat, sort) local catns = mw.site.namespaces[14].name return makeWikilink(catns .. ':' .. cat, sort) end p.makeCategoryLink = makeCategoryLink local function makeUrlLink(url, display) return mw.ustring.format('[%s %s]', url, display) end p.makeUrlLink = makeUrlLink local function makeToolbar(...) local ret = {} local lim = select('#', ...) if lim < 1 then return nil end for i = 1, lim do ret[#ret + 1] = select(i, ...) end -- 'documentation-toolbar' return '<span class="' .. message('toolbar-class') .. '">(' .. table.concat(ret, ' &#124; ') .. ')</span>' end p.makeToolbar = makeToolbar ---------------------------------------------------------------------------- -- Argument processing ---------------------------------------------------------------------------- local function makeInvokeFunc(funcName) return function (frame) local args = getArgs(frame, { valueFunc = function (key, value) if type(value) == 'string' then value = value:match('^%s*(.-)%s*$') -- Remove whitespace. if key == 'heading' or value ~= '' then return value else return nil end else return value end end }) return p[funcName](args) end end ---------------------------------------------------------------------------- -- Entry points ---------------------------------------------------------------------------- function p.nonexistent(frame) if mw.title.getCurrentTitle().subpageText == 'testcases' then return frame:expandTemplate{title = 'module test cases notice'} else return p.main(frame) end end p.main = makeInvokeFunc('_main') function p._main(args) --[[ -- This function defines logic flow for the module. -- @args - table of arguments passed by the user --]] local env = p.getEnvironment(args) local root = mw.html.create() root :wikitext(p._getModuleWikitext(args, env)) :wikitext(p.protectionTemplate(env)) :wikitext(p.sandboxNotice(args, env)) :tag('div') -- 'documentation-container' :addClass(message('container')) :attr('role', 'complementary') :attr('aria-labelledby', args.heading ~= '' and 'documentation-heading' or nil) :attr('aria-label', args.heading == '' and 'Documentation' or nil) :newline() :tag('div') -- 'documentation' :addClass(message('main-div-classes')) :newline() :wikitext(p._startBox(args, env)) :wikitext(p._content(args, env)) :tag('div') -- 'documentation-clear' :addClass(message('clear')) :done() :newline() :done() :wikitext(p._endBox(args, env)) :done() :wikitext(p.addTrackingCategories(env)) -- 'Module:Documentation/styles.css' return mw.getCurrentFrame():extensionTag ( 'templatestyles', '', {src=cfg['templatestyles'] }) .. tostring(root) end ---------------------------------------------------------------------------- -- Environment settings ---------------------------------------------------------------------------- function p.getEnvironment(args) --[[ -- Returns a table with information about the environment, including title -- objects and other namespace- or path-related data. -- @args - table of arguments passed by the user -- -- Title objects include: -- env.title - the page we are making documentation for (usually the current title) -- env.templateTitle - the template (or module, file, etc.) -- env.docTitle - the /doc subpage. -- env.sandboxTitle - the /sandbox subpage. -- env.testcasesTitle - the /testcases subpage. -- -- Data includes: -- env.protectionLevels - the protection levels table of the title object. -- env.subjectSpace - the number of the title's subject namespace. -- env.docSpace - the number of the namespace the title puts its documentation in. -- env.docpageBase - the text of the base page of the /doc, /sandbox and /testcases pages, with namespace. -- env.compareUrl - URL of the Special:ComparePages page comparing the sandbox with the template. -- -- All table lookups are passed through pcall so that errors are caught. If an error occurs, the value -- returned will be nil. --]] local env, envFuncs = {}, {} -- Set up the metatable. If triggered we call the corresponding function in the envFuncs table. The value -- returned by that function is memoized in the env table so that we don't call any of the functions -- more than once. (Nils won't be memoized.) setmetatable(env, { __index = function (t, key) local envFunc = envFuncs[key] if envFunc then local success, val = pcall(envFunc) if success then env[key] = val -- Memoise the value. return val end end return nil end }) function envFuncs.title() -- The title object for the current page, or a test page passed with args.page. local title local titleArg = args.page if titleArg then title = mw.title.new(titleArg) else title = mw.title.getCurrentTitle() end return title end function envFuncs.templateTitle() --[[ -- The template (or module, etc.) title object. -- Messages: -- 'sandbox-subpage' --> 'sandbox' -- 'testcases-subpage' --> 'testcases' --]] local subjectSpace = env.subjectSpace local title = env.title local subpage = title.subpageText if subpage == message('sandbox-subpage') or subpage == message('testcases-subpage') then return mw.title.makeTitle(subjectSpace, title.baseText) else return mw.title.makeTitle(subjectSpace, title.text) end end function envFuncs.docTitle() --[[ -- Title object of the /doc subpage. -- Messages: -- 'doc-subpage' --> 'doc' --]] local title = env.title local docname = args[1] -- User-specified doc page. local docpage if docname then docpage = docname else docpage = env.docpageBase .. '/' .. message('doc-subpage') end return mw.title.new(docpage) end function envFuncs.sandboxTitle() --[[ -- Title object for the /sandbox subpage. -- Messages: -- 'sandbox-subpage' --> 'sandbox' --]] return mw.title.new(env.docpageBase .. '/' .. message('sandbox-subpage')) end function envFuncs.testcasesTitle() --[[ -- Title object for the /testcases subpage. -- Messages: -- 'testcases-subpage' --> 'testcases' --]] return mw.title.new(env.docpageBase .. '/' .. message('testcases-subpage')) end function envFuncs.protectionLevels() -- The protection levels table of the title object. return env.title.protectionLevels end function envFuncs.subjectSpace() -- The subject namespace number. return mw.site.namespaces[env.title.namespace].subject.id end function envFuncs.docSpace() -- The documentation namespace number. For most namespaces this is the -- same as the subject namespace. However, pages in the Article, File, -- MediaWiki or Category namespaces must have their /doc, /sandbox and -- /testcases pages in talk space. local subjectSpace = env.subjectSpace if subjectSpace == 0 or subjectSpace == 6 or subjectSpace == 8 or subjectSpace == 14 then return subjectSpace + 1 else return subjectSpace end end function envFuncs.docpageBase() -- The base page of the /doc, /sandbox, and /testcases subpages. -- For some namespaces this is the talk page, rather than the template page. local templateTitle = env.templateTitle local docSpace = env.docSpace local docSpaceText = mw.site.namespaces[docSpace].name -- Assemble the link. docSpace is never the main namespace, so we can hardcode the colon. return docSpaceText .. ':' .. templateTitle.text end function envFuncs.compareUrl() -- Diff link between the sandbox and the main template using [[Special:ComparePages]]. local templateTitle = env.templateTitle local sandboxTitle = env.sandboxTitle if templateTitle.exists and sandboxTitle.exists then local compareUrl = mw.uri.fullUrl( 'Special:ComparePages', { page1 = templateTitle.prefixedText, page2 = sandboxTitle.prefixedText} ) return tostring(compareUrl) else return nil end end return env end ---------------------------------------------------------------------------- -- Auxiliary templates ---------------------------------------------------------------------------- p.getModuleWikitext = makeInvokeFunc('_getModuleWikitext') function p._getModuleWikitext(args, env) local currentTitle = mw.title.getCurrentTitle() if currentTitle.contentModel ~= 'Scribunto' then return end pcall(require, currentTitle.prefixedText) -- if it fails, we don't care local moduleWikitext = package.loaded["Module:Module wikitext"] if moduleWikitext then return moduleWikitext.main() end end function p.sandboxNotice(args, env) --[=[ -- Generates a sandbox notice for display above sandbox pages. -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- -- Messages: -- 'sandbox-notice-image' --> '[[File:Sandbox.svg|50px|alt=|link=]]' -- 'sandbox-notice-blurb' --> 'This is the $1 for $2.' -- 'sandbox-notice-diff-blurb' --> 'This is the $1 for $2 ($3).' -- 'sandbox-notice-pagetype-template' --> '[[Wikipedia:Template test cases|template sandbox]] page' -- 'sandbox-notice-pagetype-module' --> '[[Wikipedia:Template test cases|module sandbox]] page' -- 'sandbox-notice-pagetype-other' --> 'sandbox page' -- 'sandbox-notice-compare-link-display' --> 'diff' -- 'sandbox-notice-testcases-blurb' --> 'See also the companion subpage for $1.' -- 'sandbox-notice-testcases-link-display' --> 'test cases' -- 'sandbox-category' --> 'Template sandboxes' --]=] local title = env.title local sandboxTitle = env.sandboxTitle local templateTitle = env.templateTitle local subjectSpace = env.subjectSpace if not (subjectSpace and title and sandboxTitle and templateTitle and mw.title.equals(title, sandboxTitle)) then return nil end -- Build the table of arguments to pass to {{ombox}}. We need just two fields, "image" and "text". local omargs = {} omargs.image = message('sandbox-notice-image') -- Get the text. We start with the opening blurb, which is something like -- "This is the template sandbox for [[Template:Foo]] (diff)." local text = '' local pagetype if subjectSpace == 10 then pagetype = message('sandbox-notice-pagetype-template') elseif subjectSpace == 828 then pagetype = message('sandbox-notice-pagetype-module') else pagetype = message('sandbox-notice-pagetype-other') end local templateLink = makeWikilink(templateTitle.prefixedText) local compareUrl = env.compareUrl if compareUrl then local compareDisplay = message('sandbox-notice-compare-link-display') local compareLink = makeUrlLink(compareUrl, compareDisplay) text = text .. message('sandbox-notice-diff-blurb', {pagetype, templateLink, compareLink}) else text = text .. message('sandbox-notice-blurb', {pagetype, templateLink}) end -- Get the test cases page blurb if the page exists. This is something like -- "See also the companion subpage for [[Template:Foo/testcases|test cases]]." local testcasesTitle = env.testcasesTitle if testcasesTitle and testcasesTitle.exists then if testcasesTitle.contentModel == "Scribunto" then local testcasesLinkDisplay = message('sandbox-notice-testcases-link-display') local testcasesRunLinkDisplay = message('sandbox-notice-testcases-run-link-display') local testcasesLink = makeWikilink(testcasesTitle.prefixedText, testcasesLinkDisplay) local testcasesRunLink = makeWikilink(testcasesTitle.talkPageTitle.prefixedText, testcasesRunLinkDisplay) text = text .. '<br />' .. message('sandbox-notice-testcases-run-blurb', {testcasesLink, testcasesRunLink}) else local testcasesLinkDisplay = message('sandbox-notice-testcases-link-display') local testcasesLink = makeWikilink(testcasesTitle.prefixedText, testcasesLinkDisplay) text = text .. '<br />' .. message('sandbox-notice-testcases-blurb', {testcasesLink}) end end -- Add the sandbox to the sandbox category. omargs.text = text .. makeCategoryLink(message('sandbox-category')) -- 'documentation-clear' return '<div class="' .. message('clear') .. '"></div>' .. require('Module:Message box').main('ombox', omargs) end function p.protectionTemplate(env) -- Generates the padlock icon in the top right. -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- Messages: -- 'protection-template' --> 'pp-template' -- 'protection-template-args' --> {docusage = 'yes'} local protectionLevels = env.protectionLevels if not protectionLevels then return nil end local editProt = protectionLevels.edit and protectionLevels.edit[1] local moveProt = protectionLevels.move and protectionLevels.move[1] if editProt then -- The page is edit-protected. return require('Module:Protection banner')._main{ message('protection-reason-edit'), small = true } elseif moveProt and moveProt ~= 'autoconfirmed' then -- The page is move-protected but not edit-protected. Exclude move -- protection with the level "autoconfirmed", as this is equivalent to -- no move protection at all. return require('Module:Protection banner')._main{ action = 'move', small = true } else return nil end end ---------------------------------------------------------------------------- -- Start box ---------------------------------------------------------------------------- p.startBox = makeInvokeFunc('_startBox') function p._startBox(args, env) --[[ -- This function generates the start box. -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- -- The actual work is done by p.makeStartBoxLinksData and p.renderStartBoxLinks which make -- the [view] [edit] [history] [purge] links, and by p.makeStartBoxData and p.renderStartBox -- which generate the box HTML. --]] env = env or p.getEnvironment(args) local links local content = args.content if not content or args[1] then -- No need to include the links if the documentation is on the template page itself. local linksData = p.makeStartBoxLinksData(args, env) if linksData then links = p.renderStartBoxLinks(linksData) end end -- Generate the start box html. local data = p.makeStartBoxData(args, env, links) if data then return p.renderStartBox(data) else -- User specified no heading. return nil end end function p.makeStartBoxLinksData(args, env) --[[ -- Does initial processing of data to make the [view] [edit] [history] [purge] links. -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- -- Messages: -- 'view-link-display' --> 'view' -- 'edit-link-display' --> 'edit' -- 'history-link-display' --> 'history' -- 'purge-link-display' --> 'purge' -- 'module-preload' --> 'Template:Documentation/preload-module-doc' -- 'docpage-preload' --> 'Template:Documentation/preload' -- 'create-link-display' --> 'create' --]] local subjectSpace = env.subjectSpace local title = env.title local docTitle = env.docTitle if not title or not docTitle then return nil end if docTitle.isRedirect then docTitle = docTitle.redirectTarget end local data = {} data.title = title data.docTitle = docTitle -- View, display, edit, and purge links if /doc exists. data.viewLinkDisplay = message('view-link-display') data.editLinkDisplay = message('edit-link-display') data.historyLinkDisplay = message('history-link-display') data.purgeLinkDisplay = message('purge-link-display') -- Create link if /doc doesn't exist. local preload = args.preload if not preload then if subjectSpace == 828 then -- Module namespace preload = message('module-preload') else preload = message('docpage-preload') end end data.preload = preload data.createLinkDisplay = message('create-link-display') return data end function p.renderStartBoxLinks(data) --[[ -- Generates the [view][edit][history][purge] or [create][purge] links from the data table. -- @data - a table of data generated by p.makeStartBoxLinksData --]] local function escapeBrackets(s) -- Escapes square brackets with HTML entities. s = s:gsub('%[', '&#91;') -- Replace square brackets with HTML entities. s = s:gsub('%]', '&#93;') return s end local ret local docTitle = data.docTitle local title = data.title local purgeLink = makeUrlLink(title:fullUrl{action = 'purge'}, data.purgeLinkDisplay) if docTitle.exists then local viewLink = makeWikilink(docTitle.prefixedText, data.viewLinkDisplay) local editLink = makeUrlLink(docTitle:fullUrl{action = 'edit'}, data.editLinkDisplay) local historyLink = makeUrlLink(docTitle:fullUrl{action = 'history'}, data.historyLinkDisplay) ret = '[%s] [%s] [%s] [%s]' ret = escapeBrackets(ret) ret = mw.ustring.format(ret, viewLink, editLink, historyLink, purgeLink) else local createLink = makeUrlLink(docTitle:fullUrl{action = 'edit', preload = data.preload}, data.createLinkDisplay) ret = '[%s] [%s]' ret = escapeBrackets(ret) ret = mw.ustring.format(ret, createLink, purgeLink) end return ret end function p.makeStartBoxData(args, env, links) --[=[ -- Does initial processing of data to pass to the start-box render function, p.renderStartBox. -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- @links - a string containing the [view][edit][history][purge] links - could be nil if there's an error. -- -- Messages: -- 'documentation-icon-wikitext' --> '[[File:Test Template Info-Icon - Version (2).svg|50px|link=|alt=]]' -- 'template-namespace-heading' --> 'Template documentation' -- 'module-namespace-heading' --> 'Module documentation' -- 'file-namespace-heading' --> 'Summary' -- 'other-namespaces-heading' --> 'Documentation' -- 'testcases-create-link-display' --> 'create' --]=] local subjectSpace = env.subjectSpace if not subjectSpace then -- Default to an "other namespaces" namespace, so that we get at least some output -- if an error occurs. subjectSpace = 2 end local data = {} -- Heading local heading = args.heading -- Blank values are not removed. if heading == '' then -- Don't display the start box if the heading arg is defined but blank. return nil end if heading then data.heading = heading elseif subjectSpace == 10 then -- Template namespace data.heading = message('documentation-icon-wikitext') .. ' ' .. message('template-namespace-heading') elseif subjectSpace == 828 then -- Module namespace data.heading = message('documentation-icon-wikitext') .. ' ' .. message('module-namespace-heading') elseif subjectSpace == 6 then -- File namespace data.heading = message('file-namespace-heading') else data.heading = message('other-namespaces-heading') end -- Heading CSS local headingStyle = args['heading-style'] if headingStyle then data.headingStyleText = headingStyle else -- 'documentation-heading' data.headingClass = message('main-div-heading-class') end -- Data for the [view][edit][history][purge] or [create] links. if links then -- 'mw-editsection-like plainlinks' data.linksClass = message('start-box-link-classes') data.links = links end return data end function p.renderStartBox(data) -- Renders the start box html. -- @data - a table of data generated by p.makeStartBoxData. local sbox = mw.html.create('div') sbox -- 'documentation-startbox' :addClass(message('start-box-class')) :newline() :tag('span') :addClass(data.headingClass) :attr('id', 'documentation-heading') :cssText(data.headingStyleText) :wikitext(data.heading) local links = data.links if links then sbox:tag('span') :addClass(data.linksClass) :attr('id', data.linksId) :wikitext(links) end return tostring(sbox) end ---------------------------------------------------------------------------- -- Documentation content ---------------------------------------------------------------------------- p.content = makeInvokeFunc('_content') function p._content(args, env) -- Displays the documentation contents -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment env = env or p.getEnvironment(args) local docTitle = env.docTitle local content = args.content if not content and docTitle and docTitle.exists then content = args._content or mw.getCurrentFrame():expandTemplate{title = docTitle.prefixedText} end -- The line breaks below are necessary so that "=== Headings ===" at the start and end -- of docs are interpreted correctly. return '\n' .. (content or '') .. '\n' end p.contentTitle = makeInvokeFunc('_contentTitle') function p._contentTitle(args, env) env = env or p.getEnvironment(args) local docTitle = env.docTitle if not args.content and docTitle and docTitle.exists then return docTitle.prefixedText else return '' end end ---------------------------------------------------------------------------- -- End box ---------------------------------------------------------------------------- p.endBox = makeInvokeFunc('_endBox') function p._endBox(args, env) --[=[ -- This function generates the end box (also known as the link box). -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- --]=] -- Get environment data. env = env or p.getEnvironment(args) local subjectSpace = env.subjectSpace local docTitle = env.docTitle if not subjectSpace or not docTitle then return nil end -- Check whether we should output the end box at all. Add the end -- box by default if the documentation exists or if we are in the -- user, module or template namespaces. local linkBox = args['link box'] if linkBox == 'off' or not ( docTitle.exists or subjectSpace == 2 or subjectSpace == 828 or subjectSpace == 10 ) then return nil end -- Assemble the link box. local text = '' if linkBox then text = text .. linkBox else text = text .. (p.makeDocPageBlurb(args, env) or '') -- "This documentation is transcluded from [[Foo]]." if subjectSpace == 2 or subjectSpace == 10 or subjectSpace == 828 then -- We are in the user, template or module namespaces. -- Add sandbox and testcases links. -- "Editors can experiment in this template's sandbox and testcases pages." text = text .. (p.makeExperimentBlurb(args, env) or '') .. '<br />' if not args.content and not args[1] then -- "Please add categories to the /doc subpage." -- Don't show this message with inline docs or with an explicitly specified doc page, -- as then it is unclear where to add the categories. text = text .. (p.makeCategoriesBlurb(args, env) or '') end text = text .. ' ' .. (p.makeSubpagesBlurb(args, env) or '') --"Subpages of this template" end end local box = mw.html.create('div') -- 'documentation-metadata' box:attr('role', 'note') :addClass(message('end-box-class')) -- 'plainlinks' :addClass(message('end-box-plainlinks')) :wikitext(text) :done() return '\n' .. tostring(box) end function p.makeDocPageBlurb(args, env) --[=[ -- Makes the blurb "This documentation is transcluded from [[Template:Foo]] (edit, history)". -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- -- Messages: -- 'edit-link-display' --> 'edit' -- 'history-link-display' --> 'history' -- 'transcluded-from-blurb' --> -- 'The above [[Wikipedia:Template documentation|documentation]] -- is [[Help:Transclusion|transcluded]] from $1.' -- 'module-preload' --> 'Template:Documentation/preload-module-doc' -- 'create-link-display' --> 'create' -- 'create-module-doc-blurb' --> -- 'You might want to $1 a documentation page for this [[Wikipedia:Lua|Scribunto module]].' --]=] local docTitle = env.docTitle if not docTitle then return nil end local ret if docTitle.exists then -- /doc exists; link to it. local docLink = makeWikilink(docTitle.prefixedText) local editUrl = docTitle:fullUrl{action = 'edit'} local editDisplay = message('edit-link-display') local editLink = makeUrlLink(editUrl, editDisplay) local historyUrl = docTitle:fullUrl{action = 'history'} local historyDisplay = message('history-link-display') local historyLink = makeUrlLink(historyUrl, historyDisplay) ret = message('transcluded-from-blurb', {docLink}) .. ' ' .. makeToolbar(editLink, historyLink) .. '<br />' elseif env.subjectSpace == 828 then -- /doc does not exist; ask to create it. local createUrl = docTitle:fullUrl{action = 'edit', preload = message('module-preload')} local createDisplay = message('create-link-display') local createLink = makeUrlLink(createUrl, createDisplay) ret = message('create-module-doc-blurb', {createLink}) .. '<br />' end return ret end function p.makeExperimentBlurb(args, env) --[[ -- Renders the text "Editors can experiment in this template's sandbox (edit | diff) and testcases (edit) pages." -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- -- Messages: -- 'sandbox-link-display' --> 'sandbox' -- 'sandbox-edit-link-display' --> 'edit' -- 'compare-link-display' --> 'diff' -- 'module-sandbox-preload' --> 'Template:Documentation/preload-module-sandbox' -- 'template-sandbox-preload' --> 'Template:Documentation/preload-sandbox' -- 'sandbox-create-link-display' --> 'create' -- 'mirror-edit-summary' --> 'Create sandbox version of $1' -- 'mirror-link-display' --> 'mirror' -- 'mirror-link-preload' --> 'Template:Documentation/mirror' -- 'sandbox-link-display' --> 'sandbox' -- 'testcases-link-display' --> 'testcases' -- 'testcases-edit-link-display'--> 'edit' -- 'template-sandbox-preload' --> 'Template:Documentation/preload-sandbox' -- 'testcases-create-link-display' --> 'create' -- 'testcases-link-display' --> 'testcases' -- 'testcases-edit-link-display' --> 'edit' -- 'module-testcases-preload' --> 'Template:Documentation/preload-module-testcases' -- 'template-testcases-preload' --> 'Template:Documentation/preload-testcases' -- 'experiment-blurb-module' --> 'Editors can experiment in this module's $1 and $2 pages.' -- 'experiment-blurb-template' --> 'Editors can experiment in this template's $1 and $2 pages.' --]] local subjectSpace = env.subjectSpace local templateTitle = env.templateTitle local sandboxTitle = env.sandboxTitle local testcasesTitle = env.testcasesTitle local templatePage = templateTitle.prefixedText if not subjectSpace or not templateTitle or not sandboxTitle or not testcasesTitle then return nil end -- Make links. local sandboxLinks, testcasesLinks if sandboxTitle.exists then local sandboxPage = sandboxTitle.prefixedText local sandboxDisplay = message('sandbox-link-display') local sandboxLink = makeWikilink(sandboxPage, sandboxDisplay) local sandboxEditUrl = sandboxTitle:fullUrl{action = 'edit'} local sandboxEditDisplay = message('sandbox-edit-link-display') local sandboxEditLink = makeUrlLink(sandboxEditUrl, sandboxEditDisplay) local compareUrl = env.compareUrl local compareLink if compareUrl then local compareDisplay = message('compare-link-display') compareLink = makeUrlLink(compareUrl, compareDisplay) end sandboxLinks = sandboxLink .. ' ' .. makeToolbar(sandboxEditLink, compareLink) else local sandboxPreload if subjectSpace == 828 then sandboxPreload = message('module-sandbox-preload') else sandboxPreload = message('template-sandbox-preload') end local sandboxCreateUrl = sandboxTitle:fullUrl{action = 'edit', preload = sandboxPreload} local sandboxCreateDisplay = message('sandbox-create-link-display') local sandboxCreateLink = makeUrlLink(sandboxCreateUrl, sandboxCreateDisplay) local mirrorSummary = message('mirror-edit-summary', {makeWikilink(templatePage)}) local mirrorPreload = message('mirror-link-preload') local mirrorUrl = sandboxTitle:fullUrl{action = 'edit', preload = mirrorPreload, summary = mirrorSummary} if subjectSpace == 828 then mirrorUrl = sandboxTitle:fullUrl{action = 'edit', preload = templateTitle.prefixedText, summary = mirrorSummary} end local mirrorDisplay = message('mirror-link-display') local mirrorLink = makeUrlLink(mirrorUrl, mirrorDisplay) sandboxLinks = message('sandbox-link-display') .. ' ' .. makeToolbar(sandboxCreateLink, mirrorLink) end if testcasesTitle.exists then local testcasesPage = testcasesTitle.prefixedText local testcasesDisplay = message('testcases-link-display') local testcasesLink = makeWikilink(testcasesPage, testcasesDisplay) local testcasesEditUrl = testcasesTitle:fullUrl{action = 'edit'} local testcasesEditDisplay = message('testcases-edit-link-display') local testcasesEditLink = makeUrlLink(testcasesEditUrl, testcasesEditDisplay) -- for Modules, add testcases run link if exists if testcasesTitle.contentModel == "Scribunto" and testcasesTitle.talkPageTitle and testcasesTitle.talkPageTitle.exists then local testcasesRunLinkDisplay = message('testcases-run-link-display') local testcasesRunLink = makeWikilink(testcasesTitle.talkPageTitle.prefixedText, testcasesRunLinkDisplay) testcasesLinks = testcasesLink .. ' ' .. makeToolbar(testcasesEditLink, testcasesRunLink) else testcasesLinks = testcasesLink .. ' ' .. makeToolbar(testcasesEditLink) end else local testcasesPreload if subjectSpace == 828 then testcasesPreload = message('module-testcases-preload') else testcasesPreload = message('template-testcases-preload') end local testcasesCreateUrl = testcasesTitle:fullUrl{action = 'edit', preload = testcasesPreload} local testcasesCreateDisplay = message('testcases-create-link-display') local testcasesCreateLink = makeUrlLink(testcasesCreateUrl, testcasesCreateDisplay) testcasesLinks = message('testcases-link-display') .. ' ' .. makeToolbar(testcasesCreateLink) end local messageName if subjectSpace == 828 then messageName = 'experiment-blurb-module' else messageName = 'experiment-blurb-template' end return message(messageName, {sandboxLinks, testcasesLinks}) end function p.makeCategoriesBlurb(args, env) --[[ -- Generates the text "Please add categories to the /doc subpage." -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- Messages: -- 'doc-link-display' --> '/doc' -- 'add-categories-blurb' --> 'Please add categories to the $1 subpage.' --]] local docTitle = env.docTitle if not docTitle then return nil end local docPathLink = makeWikilink(docTitle.prefixedText, message('doc-link-display')) return message('add-categories-blurb', {docPathLink}) end function p.makeSubpagesBlurb(args, env) --[[ -- Generates the "Subpages of this template" link. -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- Messages: -- 'template-pagetype' --> 'template' -- 'module-pagetype' --> 'module' -- 'default-pagetype' --> 'page' -- 'subpages-link-display' --> 'Subpages of this $1' --]] local subjectSpace = env.subjectSpace local templateTitle = env.templateTitle if not subjectSpace or not templateTitle then return nil end local pagetype if subjectSpace == 10 then pagetype = message('template-pagetype') elseif subjectSpace == 828 then pagetype = message('module-pagetype') else pagetype = message('default-pagetype') end local subpagesLink = makeWikilink( 'Special:PrefixIndex/' .. templateTitle.prefixedText .. '/', message('subpages-link-display', {pagetype}) ) return message('subpages-blurb', {subpagesLink}) end ---------------------------------------------------------------------------- -- Tracking categories ---------------------------------------------------------------------------- function p.addTrackingCategories(env) --[[ -- Check if {{documentation}} is transcluded on a /doc or /testcases page. -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- Messages: -- 'display-strange-usage-category' --> true -- 'doc-subpage' --> 'doc' -- 'testcases-subpage' --> 'testcases' -- 'strange-usage-category' --> 'Wikipedia pages with strange ((documentation)) usage' -- -- /testcases pages in the module namespace are not categorised, as they may have -- {{documentation}} transcluded automatically. --]] local title = env.title local subjectSpace = env.subjectSpace if not title or not subjectSpace then return nil end local subpage = title.subpageText local ret = '' if message('display-strange-usage-category', nil, 'boolean') and ( subpage == message('doc-subpage') or subjectSpace ~= 828 and subpage == message('testcases-subpage') ) then ret = ret .. makeCategoryLink(message('strange-usage-category')) end return ret end return p 2fd7faef98df56f55eede30c4ff07b2431823ee1 0 38 341 227 2022-10-03T05:07:33Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|thumb|Taylor Swift 2 (18477753053)]] == Taylor Swift's Queer Media == ==== Foundation: Taylor Swift as “America’s Sweetheart” ==== Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. ==== Queering Heterosexual Relationships ==== Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. ==== The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) ==== Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. == Popular Theories and Evidence == == Accusations of Queerbaiting and Rainbow Capitalism == == Wider Implications == == References == fd3799907dabd1e55c5861e090971872d867342d 342 341 2022-10-03T05:08:25Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|thumb|Taylor Swift 2 (18477753053)]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. == Popular Theories and Evidence == == Accusations of Queerbaiting and Rainbow Capitalism == == Wider Implications == == References == 0df9c43237cd691f8d2dc9be358eb4482b3cdaea 343 342 2022-10-03T05:29:29Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|thumb|Taylor Swift 2 (18477753053)]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”) == Accusations of Queerbaiting and Rainbow Capitalism == == Wider Implications == == References == 49b03a023ba1e6d52361f26a9824c243bf5c064e 344 343 2022-10-03T05:54:13Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|thumb|Taylor Swift 2 (18477753053)]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”) == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == e54bc77dd1d4c97db419fe6b84f7e9a28c283198 345 344 2022-10-03T06:08:58Z Emma Kate 9 wikitext text/x-wiki [[[[File:Taylor Swift 2 (18477753053).jpg|thumb|Taylor Swift 2 (18477753053)]]|frame|left|Taylor Swift in 2015, wearing a sequined jacket in the colors of the bisexual flag.]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”) == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == e8e70d21e717f6661d5b1c0b7839c99defd4fe6f 346 345 2022-10-03T06:14:24Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|Taylor_Swift_2_(18477753053)|thumb|Taylor Swift in 2015, wearing a sequined jacket featuring the colors of the bisexual pride flag]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”) == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == 0839ab1beb59e9a123d5803da59e0c09af9c7bdc 828 126 976 2022-10-04T13:37:11Z wikipedia>Pppery 0 Avoid Lua erroring when we run out of expensive parser function calls Scribunto text/plain -------------------------------------------------------------------------------- -- Format link -- -- Makes a wikilink from the given link and display values. Links are escaped -- with colons if necessary, and links to sections are detected and displayed -- with " § " as a separator rather than the standard MediaWiki "#". Used in -- the {{format link}} template. -------------------------------------------------------------------------------- local libraryUtil = require('libraryUtil') local checkType = libraryUtil.checkType local checkTypeForNamedArg = libraryUtil.checkTypeForNamedArg local mArguments -- lazily initialise [[Module:Arguments]] local mError -- lazily initialise [[Module:Error]] local yesno -- lazily initialise [[Module:Yesno]] local p = {} -------------------------------------------------------------------------------- -- Helper functions -------------------------------------------------------------------------------- local function getArgs(frame) -- Fetches the arguments from the parent frame. Whitespace is trimmed and -- blanks are removed. mArguments = require('Module:Arguments') return mArguments.getArgs(frame, {parentOnly = true}) end local function removeInitialColon(s) -- Removes the initial colon from a string, if present. return s:match('^:?(.*)') end local function maybeItalicize(s, shouldItalicize) -- Italicize s if s is a string and the shouldItalicize parameter is true. if s and shouldItalicize then return '<i>' .. s .. '</i>' else return s end end local function parseLink(link) -- Parse a link and return a table with the link's components. -- These components are: -- - link: the link, stripped of any initial colon (always present) -- - page: the page name (always present) -- - section: the page name (may be nil) -- - display: the display text, if manually entered after a pipe (may be nil) link = removeInitialColon(link) -- Find whether a faux display value has been added with the {{!}} magic -- word. local prePipe, display = link:match('^(.-)|(.*)$') link = prePipe or link -- Find the page, if it exists. -- For links like [[#Bar]], the page will be nil. local preHash, postHash = link:match('^(.-)#(.*)$') local page if not preHash then -- We have a link like [[Foo]]. page = link elseif preHash ~= '' then -- We have a link like [[Foo#Bar]]. page = preHash end -- Find the section, if it exists. local section if postHash and postHash ~= '' then section = postHash end return { link = link, page = page, section = section, display = display, } end local function formatDisplay(parsed, options) -- Formats a display string based on a parsed link table (matching the -- output of parseLink) and an options table (matching the input options for -- _formatLink). local page = maybeItalicize(parsed.page, options.italicizePage) local section = maybeItalicize(parsed.section, options.italicizeSection) if (not section) then return page elseif (not page) then return mw.ustring.format('§&nbsp;%s', section) else return mw.ustring.format('%s §&nbsp;%s', page, section) end end local function missingArgError(target) mError = require('Module:Error') return mError.error{message = 'Error: no link or target specified! ([[' .. target .. '#Errors|help]])' } end -------------------------------------------------------------------------------- -- Main functions -------------------------------------------------------------------------------- function p.formatLink(frame) -- The formatLink export function, for use in templates. yesno = require('Module:Yesno') local args = getArgs(frame) local link = args[1] or args.link local target = args[3] or args.target if not (link or target) then return missingArgError('Template:Format link') end return p._formatLink{ link = link, display = args[2] or args.display, target = target, italicizePage = yesno(args.italicizepage), italicizeSection = yesno(args.italicizesection), categorizeMissing = args.categorizemissing } end function p._formatLink(options) -- The formatLink export function, for use in modules. checkType('_formatLink', 1, options, 'table') local function check(key, expectedType) --for brevity checkTypeForNamedArg( '_formatLink', key, options[key], expectedType or 'string', true ) end check('link') check('display') check('target') check('italicizePage', 'boolean') check('italicizeSection', 'boolean') check('categorizeMissing') -- Normalize link and target and check that at least one is present if options.link == '' then options.link = nil end if options.target == '' then options.target = nil end if not (options.link or options.target) then return missingArgError('Module:Format link') end local parsed = parseLink(options.link) local display = options.display or parsed.display local catMissing = options.categorizeMissing local category = '' -- Find the display text if not display then display = formatDisplay(parsed, options) end -- Handle the target option if present if options.target then local parsedTarget = parseLink(options.target) parsed.link = parsedTarget.link parsed.page = parsedTarget.page end -- Test if page exists if a diagnostic category is specified if catMissing and (mw.ustring.len(catMissing) > 0) then local title = nil if parsed.page then title = mw.title.new(parsed.page) end if title and (not title.isExternal) then local success, exists = pcall(function() return title.exists end) if success and not exists then category = mw.ustring.format('[[Category:%s]]', catMissing) end end end -- Format the result as a link if parsed.link == display then return mw.ustring.format('[[:%s]]%s', parsed.link, category) else return mw.ustring.format('[[:%s|%s]]%s', parsed.link, display, category) end end -------------------------------------------------------------------------------- -- Derived convenience functions -------------------------------------------------------------------------------- function p.formatPages(options, pages) -- Formats an array of pages using formatLink and the given options table, -- and returns it as an array. Nil values are not allowed. local ret = {} for i, page in ipairs(pages) do ret[i] = p._formatLink{ link = page, categorizeMissing = options.categorizeMissing, italicizePage = options.italicizePage, italicizeSection = options.italicizeSection } end return ret end return p 1253bdd2683ee4badc33856bfd5499b09a7dca1f 0 49 349 2022-10-05T15:49:50Z 9thSaturn 4 Created page with ""Asexual" is most commonly defined as "a lack of sexual attraction," but that begs the question: what constitutes attraction? When does an attraction become sexual? And what does it mean to lack those things? Questions like these result in answers that are complicated, contradictory, and fundamentally queer. == What is Asexuality? == The misunderstanding of asexuality begins with the deification of the orgasm, the belief that it is all-important somehow--indeed, one of..." wikitext text/x-wiki "Asexual" is most commonly defined as "a lack of sexual attraction," but that begs the question: what constitutes attraction? When does an attraction become sexual? And what does it mean to lack those things? Questions like these result in answers that are complicated, contradictory, and fundamentally queer. == What is Asexuality? == The misunderstanding of asexuality begins with the deification of the orgasm, the belief that it is all-important somehow--indeed, one of its synonyms is 'climax,' and that's how it is viewed in cultural ubiquity. It is the be-all-end-all, the denouement, the goal of every sexual encounter. Given that asexuality defies that by placing other objectives at the goal posts (and, in some cases, removing the goal posts altogether), it makes sense that cultures often don't know what to do with asexuality. Asexuality is queer in the same way that homosexuality is queer: neither orientation can result in reproduction, which is abhorrent to the American Dream, nuclear family societal ideal. The difference is that, while asexuality is often approached with skepticism ('oh, she just hasn't met the right person,' or 'he just hasn't had good sex,' are common refrains), there's no denying that gay sex happens. The right to perform queer sexual acts has been fought for by activists across generations. However, if one looks at it through the lens of inclusionism, it's easy to see that gay sex asks the same question as gay marriage or gay military enlistment: if straight people can do it, why can't we? This, however, is not a very queer question. A queerer question would be: why do we have to do what straight people do in order to be recognized and to feel validated? The asexual answer is that we don't. There are numerous degrees and flavors of asexuality, but a simplified explanation involves two axes: the sexuality axis and the romanticism axis. The sexuality axis deals with how a person feels about sex, with 'sex repulsed' comprising the most negative end and identities like 'sex indifferent,' 'gray asexual,' and 'demisexual' becoming more sex positive as they go. It's impossible to say what the extreme of sex positivity is within the bounds of asexuality because there simply is no hard and fast boundary. The other axis, the romanticism axis, deals more with how an individual feels about other intimate acts that are non-sexual. Again, this is measured on a gradient, and there are no hard lines to be drawn, but while there are certainly asexuals who prefer to stay away from romantic intimacy of any kind, known as 'asexual aromantics,' there are also those who find that non-sexual intimacy and romance is very comfortable and a solid base for a relationship. == Asexuality & Feminism == Feminism has, in recent times as well but especially in the 1960s and 70s, utilized slogans involving 'sisterhood,' a term which does not telegraph sexuality of any kind and in fact seems to reject it. This can be traced back to commitments of political celibacy commonly made by feminists of that time period. It was nearly consensus that the correct thing was to repurpose the energy they'd been expending on men, commandeering and giving it instead to themselves, other women, and the general cause. This idea, that sexual energy does not necessarily have to be used for sexual purposes, is integral to asexual queerness. At the time, the terms 'asexual' and 'celibate' were used, for all intents and purposes, interchangeably, which exemplifies how political the identity was at the time and plays a role in perpetuating the modern narrative that asexuality is an intentional and active abstinence from sexual activity; it was a choice they made back then, so it's a choice people are making today. While this is the ethos of some who identify as asexual, it is not the blanket truth many believe it to be. One noteworthy event involving political celibacy is the Young Lords Party sex strike of 1970. The Young Lords Party was a street-gang-turned-activist-group with chapters across the United States which focused on protesting for better treatment of Puerto Ricans in American cities and an overall socialist society. The New York chapter, arguably the most well-known, had a manifesto which comprised of 13 tenants. It was called the 13 Point Program, and each point delineated one of the issued they protested for, and while the equal treatment of women was one of them, they advocated for machismo which was "Revolutionary...Not Oppressive." This fixation on preserving machismo resulted in the group's women, who comprised roughly half of membership, not being taken very seriously by the men. Women were not allowed to hold positions of power within the group, and, in order to combat this, a croup of women withing the Young Lords Party formed a caucus which decided to withhold sexual relations from the male members of the group until their demands, which included positions of power and the removal of machismo from the manifesto, were met. Given that, as an act of solidarity, YLP encouraged inter-group relations and, indeed, many members were romantic couples, this was a significant act; their demands were met within weeks. == Asexuality in Pop Culture == Asexual relationships have a reputation for being the underdeveloped, immature versions of 'adult' relationships, and this idea is perpetuated by the most common pop culture representation of asexual relationships: children's media. Love stories are ubiquitous, and children's media is not exempt from this fact. Untold numbers of films, TV shows, and books marketed towards children feature a (usually heterosexual) background romance between two of the main characters. Harry Potter, Percy Jackson, Teen Titans, and functionally every Disney animated movie come to mind. However, because this is media intended for children, it can't include anything sexually explicit, so audiences are left with flirtation, hand-holding, and perhaps even a kiss, all of which are incredibly common in asexual romantic relationships. However, because audiences are only exposed to this kind of sexless romance in the context of media targeted towards children, an implicit association is formed between that kind of intimacy and immaturity. == Asexuality as Deformity == An all-too-common conception held by skeptics is that, if a person truly is asexual, that they truly don't experience sexual arousal, something is fundamentally wrong with them. Their brain is broken, or maybe it's their body, or maybe they just weren't put together right. Either way, it's all too common to believe that asexuals have something wrong with them. Indeed, even the Diagnostic and Statistical Manual of Mental Disorders, the DSM-5, modern psychiatry's little black book, lists hypoactive sexual desire disorder as a legitimate medical concern. Whereas homosexuality as an illness was done away with in the seventies, asexuals today can be quite literally diagnosed with their sexuality. And, more disturbing than that, with any diagnosis comes the conversation of a cure. Products that do anything from target hormone production to stimulate genital blood flow have been brought to market, and, because of the societal doctrine that sex is part of a healthy life and that health is a moral pursuit, it becomes one's moral duty to fix what they're being told is a broken brain. == References == <references/> 9fcdbb188ddce04e1ac49c11601a50b403959bb8 350 349 2022-10-05T15:53:22Z 9thSaturn 4 wikitext text/x-wiki "Asexual" is most commonly defined as "a lack of sexual attraction," but that begs the question: what constitutes attraction? When does an attraction become sexual? And what does it mean to lack those things? Questions like these result in answers that are complicated, contradictory, and fundamentally queer. == What is Asexuality? == The misunderstanding of asexuality begins with the deification of the orgasm, the belief that it is all-important somehow--indeed, one of its synonyms is 'climax,' and that's how it is viewed in cultural ubiquity. It is the be-all-end-all, the denouement, the goal of every sexual encounter. Given that asexuality defies that by placing other objectives at the goal posts (and, in some cases, removing the goal posts altogether), it makes sense that cultures often don't know what to do with asexuality. Asexuality is queer in the same way that homosexuality is queer: neither orientation can result in reproduction, which is abhorrent to the American Dream, nuclear family societal ideal. The difference is that, while asexuality is often approached with skepticism ('oh, she just hasn't met the right person,' or 'he just hasn't had good sex,' are common refrains), there's no denying that gay sex happens. The right to perform queer sexual acts has been fought for by activists across generations. However, if one looks at it through the lens of inclusionism, it's easy to see that gay sex asks the same question as gay marriage or gay military enlistment: if straight people can do it, why can't we? This, however, is not a very queer question. A queerer question would be: why do we have to do what straight people do in order to be recognized and to feel validated? The asexual answer is that we don't. There are numerous degrees and flavors of asexuality, but a simplified explanation involves two axes: the sexuality axis and the romanticism axis. The sexuality axis deals with how a person feels about sex, with 'sex repulsed' comprising the most negative end and identities like 'sex indifferent,' 'gray asexual,' and 'demisexual' becoming more sex positive as they go. It's impossible to say what the extreme of sex positivity is within the bounds of asexuality because there simply is no hard and fast boundary. The other axis, the romanticism axis, deals more with how an individual feels about other intimate acts that are non-sexual. Again, this is measured on a gradient, and there are no hard lines to be drawn, but while there are certainly asexuals who prefer to stay away from romantic intimacy of any kind, known as 'asexual aromantics,' there are also those who find that non-sexual intimacy and romance is very comfortable and a solid base for a relationship.[file:///C:/Users/baile/Downloads/Asexual%20Erotics%20Intimate%20Readings%20of%20Compulsory%20Sexuality%20(Ela%20Przybylo)%20(z-lib.org).pdf]</ref> == Asexuality & Feminism == Feminism has, in recent times as well but especially in the 1960s and 70s, utilized slogans involving 'sisterhood,' a term which does not telegraph sexuality of any kind and in fact seems to reject it. This can be traced back to commitments of political celibacy commonly made by feminists of that time period. It was nearly consensus that the correct thing was to repurpose the energy they'd been expending on men, commandeering and giving it instead to themselves, other women, and the general cause. This idea, that sexual energy does not necessarily have to be used for sexual purposes, is integral to asexual queerness. At the time, the terms 'asexual' and 'celibate' were used, for all intents and purposes, interchangeably, which exemplifies how political the identity was at the time and plays a role in perpetuating the modern narrative that asexuality is an intentional and active abstinence from sexual activity; it was a choice they made back then, so it's a choice people are making today. While this is the ethos of some who identify as asexual, it is not the blanket truth many believe it to be. One noteworthy event involving political celibacy is the Young Lords Party sex strike of 1970. The Young Lords Party was a street-gang-turned-activist-group with chapters across the United States which focused on protesting for better treatment of Puerto Ricans in American cities and an overall socialist society. The New York chapter, arguably the most well-known, had a manifesto which comprised of 13 tenants. It was called the 13 Point Program, and each point delineated one of the issued they protested for, and while the equal treatment of women was one of them, they advocated for machismo which was "Revolutionary...Not Oppressive." This fixation on preserving machismo resulted in the group's women, who comprised roughly half of membership, not being taken very seriously by the men. Women were not allowed to hold positions of power within the group, and, in order to combat this, a croup of women withing the Young Lords Party formed a caucus which decided to withhold sexual relations from the male members of the group until their demands, which included positions of power and the removal of machismo from the manifesto, were met. Given that, as an act of solidarity, YLP encouraged inter-group relations and, indeed, many members were romantic couples, this was a significant act; their demands were met within weeks. == Asexuality in Pop Culture == Asexual relationships have a reputation for being the underdeveloped, immature versions of 'adult' relationships, and this idea is perpetuated by the most common pop culture representation of asexual relationships: children's media. Love stories are ubiquitous, and children's media is not exempt from this fact. Untold numbers of films, TV shows, and books marketed towards children feature a (usually heterosexual) background romance between two of the main characters. Harry Potter, Percy Jackson, Teen Titans, and functionally every Disney animated movie come to mind. However, because this is media intended for children, it can't include anything sexually explicit, so audiences are left with flirtation, hand-holding, and perhaps even a kiss, all of which are incredibly common in asexual romantic relationships. However, because audiences are only exposed to this kind of sexless romance in the context of media targeted towards children, an implicit association is formed between that kind of intimacy and immaturity. == Asexuality as Deformity == An all-too-common conception held by skeptics is that, if a person truly is asexual, that they truly don't experience sexual arousal, something is fundamentally wrong with them. Their brain is broken, or maybe it's their body, or maybe they just weren't put together right. Either way, it's all too common to believe that asexuals have something wrong with them. Indeed, even the Diagnostic and Statistical Manual of Mental Disorders, the DSM-5, modern psychiatry's little black book, lists hypoactive sexual desire disorder as a legitimate medical concern. Whereas homosexuality as an illness was done away with in the seventies, asexuals today can be quite literally diagnosed with their sexuality. And, more disturbing than that, with any diagnosis comes the conversation of a cure. Products that do anything from target hormone production to stimulate genital blood flow have been brought to market, and, because of the societal doctrine that sex is part of a healthy life and that health is a moral pursuit, it becomes one's moral duty to fix what they're being told is a broken brain. == References == <references/> 1d442c0556b6e54b0d4dd40d1072da281802f4fa 351 350 2022-10-05T15:53:45Z 9thSaturn 4 wikitext text/x-wiki "Asexual" is most commonly defined as "a lack of sexual attraction," but that begs the question: what constitutes attraction? When does an attraction become sexual? And what does it mean to lack those things? Questions like these result in answers that are complicated, contradictory, and fundamentally queer. == What is Asexuality? == The misunderstanding of asexuality begins with the deification of the orgasm, the belief that it is all-important somehow--indeed, one of its synonyms is 'climax,' and that's how it is viewed in cultural ubiquity. It is the be-all-end-all, the denouement, the goal of every sexual encounter. Given that asexuality defies that by placing other objectives at the goal posts (and, in some cases, removing the goal posts altogether), it makes sense that cultures often don't know what to do with asexuality. Asexuality is queer in the same way that homosexuality is queer: neither orientation can result in reproduction, which is abhorrent to the American Dream, nuclear family societal ideal. The difference is that, while asexuality is often approached with skepticism ('oh, she just hasn't met the right person,' or 'he just hasn't had good sex,' are common refrains), there's no denying that gay sex happens. The right to perform queer sexual acts has been fought for by activists across generations. However, if one looks at it through the lens of inclusionism, it's easy to see that gay sex asks the same question as gay marriage or gay military enlistment: if straight people can do it, why can't we? This, however, is not a very queer question. A queerer question would be: why do we have to do what straight people do in order to be recognized and to feel validated? The asexual answer is that we don't. There are numerous degrees and flavors of asexuality, but a simplified explanation involves two axes: the sexuality axis and the romanticism axis. The sexuality axis deals with how a person feels about sex, with 'sex repulsed' comprising the most negative end and identities like 'sex indifferent,' 'gray asexual,' and 'demisexual' becoming more sex positive as they go. It's impossible to say what the extreme of sex positivity is within the bounds of asexuality because there simply is no hard and fast boundary. The other axis, the romanticism axis, deals more with how an individual feels about other intimate acts that are non-sexual. Again, this is measured on a gradient, and there are no hard lines to be drawn, but while there are certainly asexuals who prefer to stay away from romantic intimacy of any kind, known as 'asexual aromantics,' there are also those who find that non-sexual intimacy and romance is very comfortable and a solid base for a relationship.[file:///C:/Users/baile/Downloads/Asexual%20Erotics%20Intimate%20Readings%20of%20Compulsory%20Sexuality%20(Ela%20Przybylo)%20(z-lib.org).pdf] </ref> == Asexuality & Feminism == Feminism has, in recent times as well but especially in the 1960s and 70s, utilized slogans involving 'sisterhood,' a term which does not telegraph sexuality of any kind and in fact seems to reject it. This can be traced back to commitments of political celibacy commonly made by feminists of that time period. It was nearly consensus that the correct thing was to repurpose the energy they'd been expending on men, commandeering and giving it instead to themselves, other women, and the general cause. This idea, that sexual energy does not necessarily have to be used for sexual purposes, is integral to asexual queerness. At the time, the terms 'asexual' and 'celibate' were used, for all intents and purposes, interchangeably, which exemplifies how political the identity was at the time and plays a role in perpetuating the modern narrative that asexuality is an intentional and active abstinence from sexual activity; it was a choice they made back then, so it's a choice people are making today. While this is the ethos of some who identify as asexual, it is not the blanket truth many believe it to be. One noteworthy event involving political celibacy is the Young Lords Party sex strike of 1970. The Young Lords Party was a street-gang-turned-activist-group with chapters across the United States which focused on protesting for better treatment of Puerto Ricans in American cities and an overall socialist society. The New York chapter, arguably the most well-known, had a manifesto which comprised of 13 tenants. It was called the 13 Point Program, and each point delineated one of the issued they protested for, and while the equal treatment of women was one of them, they advocated for machismo which was "Revolutionary...Not Oppressive." This fixation on preserving machismo resulted in the group's women, who comprised roughly half of membership, not being taken very seriously by the men. Women were not allowed to hold positions of power within the group, and, in order to combat this, a croup of women withing the Young Lords Party formed a caucus which decided to withhold sexual relations from the male members of the group until their demands, which included positions of power and the removal of machismo from the manifesto, were met. Given that, as an act of solidarity, YLP encouraged inter-group relations and, indeed, many members were romantic couples, this was a significant act; their demands were met within weeks. == Asexuality in Pop Culture == Asexual relationships have a reputation for being the underdeveloped, immature versions of 'adult' relationships, and this idea is perpetuated by the most common pop culture representation of asexual relationships: children's media. Love stories are ubiquitous, and children's media is not exempt from this fact. Untold numbers of films, TV shows, and books marketed towards children feature a (usually heterosexual) background romance between two of the main characters. Harry Potter, Percy Jackson, Teen Titans, and functionally every Disney animated movie come to mind. However, because this is media intended for children, it can't include anything sexually explicit, so audiences are left with flirtation, hand-holding, and perhaps even a kiss, all of which are incredibly common in asexual romantic relationships. However, because audiences are only exposed to this kind of sexless romance in the context of media targeted towards children, an implicit association is formed between that kind of intimacy and immaturity. == Asexuality as Deformity == An all-too-common conception held by skeptics is that, if a person truly is asexual, that they truly don't experience sexual arousal, something is fundamentally wrong with them. Their brain is broken, or maybe it's their body, or maybe they just weren't put together right. Either way, it's all too common to believe that asexuals have something wrong with them. Indeed, even the Diagnostic and Statistical Manual of Mental Disorders, the DSM-5, modern psychiatry's little black book, lists hypoactive sexual desire disorder as a legitimate medical concern. Whereas homosexuality as an illness was done away with in the seventies, asexuals today can be quite literally diagnosed with their sexuality. And, more disturbing than that, with any diagnosis comes the conversation of a cure. Products that do anything from target hormone production to stimulate genital blood flow have been brought to market, and, because of the societal doctrine that sex is part of a healthy life and that health is a moral pursuit, it becomes one's moral duty to fix what they're being told is a broken brain. == References == <references/> 95954b8b69a60fc28f8730b35183dbfb9d7de17b 352 351 2022-10-05T15:54:07Z 9thSaturn 4 wikitext text/x-wiki "Asexual" is most commonly defined as "a lack of sexual attraction," but that begs the question: what constitutes attraction? When does an attraction become sexual? And what does it mean to lack those things? Questions like these result in answers that are complicated, contradictory, and fundamentally queer. == What is Asexuality? == The misunderstanding of asexuality begins with the deification of the orgasm, the belief that it is all-important somehow--indeed, one of its synonyms is 'climax,' and that's how it is viewed in cultural ubiquity. It is the be-all-end-all, the denouement, the goal of every sexual encounter. Given that asexuality defies that by placing other objectives at the goal posts (and, in some cases, removing the goal posts altogether), it makes sense that cultures often don't know what to do with asexuality. Asexuality is queer in the same way that homosexuality is queer: neither orientation can result in reproduction, which is abhorrent to the American Dream, nuclear family societal ideal. The difference is that, while asexuality is often approached with skepticism ('oh, she just hasn't met the right person,' or 'he just hasn't had good sex,' are common refrains), there's no denying that gay sex happens. The right to perform queer sexual acts has been fought for by activists across generations. However, if one looks at it through the lens of inclusionism, it's easy to see that gay sex asks the same question as gay marriage or gay military enlistment: if straight people can do it, why can't we? This, however, is not a very queer question. A queerer question would be: why do we have to do what straight people do in order to be recognized and to feel validated? The asexual answer is that we don't. There are numerous degrees and flavors of asexuality, but a simplified explanation involves two axes: the sexuality axis and the romanticism axis. The sexuality axis deals with how a person feels about sex, with 'sex repulsed' comprising the most negative end and identities like 'sex indifferent,' 'gray asexual,' and 'demisexual' becoming more sex positive as they go. It's impossible to say what the extreme of sex positivity is within the bounds of asexuality because there simply is no hard and fast boundary. The other axis, the romanticism axis, deals more with how an individual feels about other intimate acts that are non-sexual. Again, this is measured on a gradient, and there are no hard lines to be drawn, but while there are certainly asexuals who prefer to stay away from romantic intimacy of any kind, known as 'asexual aromantics,' there are also those who find that non-sexual intimacy and romance is very comfortable and a solid base for a relationship. == Asexuality & Feminism == Feminism has, in recent times as well but especially in the 1960s and 70s, utilized slogans involving 'sisterhood,' a term which does not telegraph sexuality of any kind and in fact seems to reject it. This can be traced back to commitments of political celibacy commonly made by feminists of that time period. It was nearly consensus that the correct thing was to repurpose the energy they'd been expending on men, commandeering and giving it instead to themselves, other women, and the general cause. This idea, that sexual energy does not necessarily have to be used for sexual purposes, is integral to asexual queerness. At the time, the terms 'asexual' and 'celibate' were used, for all intents and purposes, interchangeably, which exemplifies how political the identity was at the time and plays a role in perpetuating the modern narrative that asexuality is an intentional and active abstinence from sexual activity; it was a choice they made back then, so it's a choice people are making today. While this is the ethos of some who identify as asexual, it is not the blanket truth many believe it to be. One noteworthy event involving political celibacy is the Young Lords Party sex strike of 1970. The Young Lords Party was a street-gang-turned-activist-group with chapters across the United States which focused on protesting for better treatment of Puerto Ricans in American cities and an overall socialist society. The New York chapter, arguably the most well-known, had a manifesto which comprised of 13 tenants. It was called the 13 Point Program, and each point delineated one of the issued they protested for, and while the equal treatment of women was one of them, they advocated for machismo which was "Revolutionary...Not Oppressive." This fixation on preserving machismo resulted in the group's women, who comprised roughly half of membership, not being taken very seriously by the men. Women were not allowed to hold positions of power within the group, and, in order to combat this, a croup of women withing the Young Lords Party formed a caucus which decided to withhold sexual relations from the male members of the group until their demands, which included positions of power and the removal of machismo from the manifesto, were met. Given that, as an act of solidarity, YLP encouraged inter-group relations and, indeed, many members were romantic couples, this was a significant act; their demands were met within weeks. == Asexuality in Pop Culture == Asexual relationships have a reputation for being the underdeveloped, immature versions of 'adult' relationships, and this idea is perpetuated by the most common pop culture representation of asexual relationships: children's media. Love stories are ubiquitous, and children's media is not exempt from this fact. Untold numbers of films, TV shows, and books marketed towards children feature a (usually heterosexual) background romance between two of the main characters. Harry Potter, Percy Jackson, Teen Titans, and functionally every Disney animated movie come to mind. However, because this is media intended for children, it can't include anything sexually explicit, so audiences are left with flirtation, hand-holding, and perhaps even a kiss, all of which are incredibly common in asexual romantic relationships. However, because audiences are only exposed to this kind of sexless romance in the context of media targeted towards children, an implicit association is formed between that kind of intimacy and immaturity. == Asexuality as Deformity == An all-too-common conception held by skeptics is that, if a person truly is asexual, that they truly don't experience sexual arousal, something is fundamentally wrong with them. Their brain is broken, or maybe it's their body, or maybe they just weren't put together right. Either way, it's all too common to believe that asexuals have something wrong with them. Indeed, even the Diagnostic and Statistical Manual of Mental Disorders, the DSM-5, modern psychiatry's little black book, lists hypoactive sexual desire disorder as a legitimate medical concern. Whereas homosexuality as an illness was done away with in the seventies, asexuals today can be quite literally diagnosed with their sexuality. And, more disturbing than that, with any diagnosis comes the conversation of a cure. Products that do anything from target hormone production to stimulate genital blood flow have been brought to market, and, because of the societal doctrine that sex is part of a healthy life and that health is a moral pursuit, it becomes one's moral duty to fix what they're being told is a broken brain. == References == <references/> 9fcdbb188ddce04e1ac49c11601a50b403959bb8 353 352 2022-10-05T15:56:57Z 9thSaturn 4 wikitext text/x-wiki "Asexual" is most commonly defined as "a lack of sexual attraction," but that begs the question: what constitutes attraction? When does an attraction become sexual? And what does it mean to lack those things? Questions like these result in answers that are complicated, contradictory, and fundamentally queer. == What is Asexuality? == The misunderstanding of asexuality begins with the deification of the orgasm, the belief that it is all-important somehow--indeed, one of its synonyms is 'climax,' and that's how it is viewed in cultural ubiquity. It is the be-all-end-all, the denouement, the goal of every sexual encounter. Given that asexuality defies that by placing other objectives at the goal posts (and, in some cases, removing the goal posts altogether), it makes sense that cultures often don't know what to do with asexuality. Asexuality is queer in the same way that homosexuality is queer: neither orientation can result in reproduction, which is abhorrent to the American Dream, nuclear family societal ideal. The difference is that, while asexuality is often approached with skepticism ('oh, she just hasn't met the right person,' or 'he just hasn't had good sex,' are common refrains), there's no denying that gay sex happens. The right to perform queer sexual acts has been fought for by activists across generations. However, if one looks at it through the lens of inclusionism, it's easy to see that gay sex asks the same question as gay marriage or gay military enlistment: if straight people can do it, why can't we? This, however, is not a very queer question. A queerer question would be: why do we have to do what straight people do in order to be recognized and to feel validated? The asexual answer is that we don't. There are numerous degrees and flavors of asexuality, but a simplified explanation involves two axes: the sexuality axis and the romanticism axis. The sexuality axis deals with how a person feels about sex, with 'sex repulsed' comprising the most negative end and identities like 'sex indifferent,' 'gray asexual,' and 'demisexual' becoming more sex positive as they go. It's impossible to say what the extreme of sex positivity is within the bounds of asexuality because there simply is no hard and fast boundary. The other axis, the romanticism axis, deals more with how an individual feels about other intimate acts that are non-sexual. Again, this is measured on a gradient, and there are no hard lines to be drawn, but while there are certainly asexuals who prefer to stay away from romantic intimacy of any kind, known as 'asexual aromantics,' there are also those who find that non-sexual intimacy and romance is very comfortable and a solid base for a relationship. <ref> https://library.oapen.org/bitstream/handle/20.500.12657/24390/1005725.pdf </ref> == Asexuality & Feminism == Feminism has, in recent times as well but especially in the 1960s and 70s, utilized slogans involving 'sisterhood,' a term which does not telegraph sexuality of any kind and in fact seems to reject it. This can be traced back to commitments of political celibacy commonly made by feminists of that time period. It was nearly consensus that the correct thing was to repurpose the energy they'd been expending on men, commandeering and giving it instead to themselves, other women, and the general cause. This idea, that sexual energy does not necessarily have to be used for sexual purposes, is integral to asexual queerness. At the time, the terms 'asexual' and 'celibate' were used, for all intents and purposes, interchangeably, which exemplifies how political the identity was at the time and plays a role in perpetuating the modern narrative that asexuality is an intentional and active abstinence from sexual activity; it was a choice they made back then, so it's a choice people are making today. While this is the ethos of some who identify as asexual, it is not the blanket truth many believe it to be. One noteworthy event involving political celibacy is the Young Lords Party sex strike of 1970. The Young Lords Party was a street-gang-turned-activist-group with chapters across the United States which focused on protesting for better treatment of Puerto Ricans in American cities and an overall socialist society. The New York chapter, arguably the most well-known, had a manifesto which comprised of 13 tenants. It was called the 13 Point Program, and each point delineated one of the issued they protested for, and while the equal treatment of women was one of them, they advocated for machismo which was "Revolutionary...Not Oppressive." This fixation on preserving machismo resulted in the group's women, who comprised roughly half of membership, not being taken very seriously by the men. Women were not allowed to hold positions of power within the group, and, in order to combat this, a croup of women withing the Young Lords Party formed a caucus which decided to withhold sexual relations from the male members of the group until their demands, which included positions of power and the removal of machismo from the manifesto, were met. Given that, as an act of solidarity, YLP encouraged inter-group relations and, indeed, many members were romantic couples, this was a significant act; their demands were met within weeks. == Asexuality in Pop Culture == Asexual relationships have a reputation for being the underdeveloped, immature versions of 'adult' relationships, and this idea is perpetuated by the most common pop culture representation of asexual relationships: children's media. Love stories are ubiquitous, and children's media is not exempt from this fact. Untold numbers of films, TV shows, and books marketed towards children feature a (usually heterosexual) background romance between two of the main characters. Harry Potter, Percy Jackson, Teen Titans, and functionally every Disney animated movie come to mind. However, because this is media intended for children, it can't include anything sexually explicit, so audiences are left with flirtation, hand-holding, and perhaps even a kiss, all of which are incredibly common in asexual romantic relationships. However, because audiences are only exposed to this kind of sexless romance in the context of media targeted towards children, an implicit association is formed between that kind of intimacy and immaturity. == Asexuality as Deformity == An all-too-common conception held by skeptics is that, if a person truly is asexual, that they truly don't experience sexual arousal, something is fundamentally wrong with them. Their brain is broken, or maybe it's their body, or maybe they just weren't put together right. Either way, it's all too common to believe that asexuals have something wrong with them. Indeed, even the Diagnostic and Statistical Manual of Mental Disorders, the DSM-5, modern psychiatry's little black book, lists hypoactive sexual desire disorder as a legitimate medical concern. Whereas homosexuality as an illness was done away with in the seventies, asexuals today can be quite literally diagnosed with their sexuality. And, more disturbing than that, with any diagnosis comes the conversation of a cure. Products that do anything from target hormone production to stimulate genital blood flow have been brought to market, and, because of the societal doctrine that sex is part of a healthy life and that health is a moral pursuit, it becomes one's moral duty to fix what they're being told is a broken brain. == References == <references/> 69e298adc12f3cb73b25cb36f1e489a511264c85 354 353 2022-10-05T16:00:12Z 9thSaturn 4 wikitext text/x-wiki "Asexual" is most commonly defined as "a lack of sexual attraction," but that begs the question: what constitutes attraction? When does an attraction become sexual? And what does it mean to lack those things? Questions like these result in answers that are complicated, contradictory, and fundamentally queer. == What is Asexuality? == The misunderstanding of asexuality begins with the deification of the orgasm, the belief that it is all-important somehow--indeed, one of its synonyms is 'climax,' and that's how it is viewed in cultural ubiquity. It is the be-all-end-all, the denouement, the goal of every sexual encounter. Given that asexuality defies that by placing other objectives at the goal posts (and, in some cases, removing the goal posts altogether), it makes sense that cultures often don't know what to do with asexuality. Asexuality is queer in the same way that homosexuality is queer: neither orientation can result in reproduction, which is abhorrent to the American Dream, nuclear family societal ideal. The difference is that, while asexuality is often approached with skepticism ('oh, she just hasn't met the right person,' or 'he just hasn't had good sex,' are common refrains), there's no denying that gay sex happens. The right to perform queer sexual acts has been fought for by activists across generations. However, if one looks at it through the lens of inclusionism, it's easy to see that gay sex asks the same question as gay marriage or gay military enlistment: if straight people can do it, why can't we? This, however, is not a very queer question. A queerer question would be: why do we have to do what straight people do in order to be recognized and to feel validated? The asexual answer is that we don't. There are numerous degrees and flavors of asexuality, but a simplified explanation involves two axes: the sexuality axis and the romanticism axis. The sexuality axis deals with how a person feels about sex, with 'sex repulsed' comprising the most negative end and identities like 'sex indifferent,' 'gray asexual,' and 'demisexual' becoming more sex positive as they go. It's impossible to say what the extreme of sex positivity is within the bounds of asexuality because there simply is no hard and fast boundary. The other axis, the romanticism axis, deals more with how an individual feels about other intimate acts that are non-sexual. Again, this is measured on a gradient, and there are no hard lines to be drawn, but while there are certainly asexuals who prefer to stay away from romantic intimacy of any kind, known as 'asexual aromantics,' there are also those who find that non-sexual intimacy and romance is very comfortable and a solid base for a relationship. <ref> https://library.oapen.org/bitstream/handle/20.500.12657/24390/1005725.pdf </ref> == Asexuality & Feminism == Feminism has, in recent times as well but especially in the 1960s and 70s, utilized slogans involving 'sisterhood,' a term which does not telegraph sexuality of any kind and in fact seems to reject it. This can be traced back to commitments of political celibacy commonly made by feminists of that time period. It was nearly consensus that the correct thing was to repurpose the energy they'd been expending on men, commandeering and giving it instead to themselves, other women, and the general cause. This idea, that sexual energy does not necessarily have to be used for sexual purposes, is integral to asexual queerness. At the time, the terms 'asexual' and 'celibate' were used, for all intents and purposes, interchangeably, which exemplifies how political the identity was at the time and plays a role in perpetuating the modern narrative that asexuality is an intentional and active abstinence from sexual activity; it was a choice they made back then, so it's a choice people are making today. While this is the ethos of some who identify as asexual, it is not the blanket truth many believe it to be. One noteworthy event involving political celibacy is the Young Lords Party sex strike of 1970. The Young Lords Party was a street-gang-turned-activist-group with chapters across the United States which focused on protesting for better treatment of Puerto Ricans in American cities and an overall socialist society. The New York chapter, arguably the most well-known, had a manifesto which comprised of 13 tenants. It was called the 13 Point Program, and each point delineated one of the issued they protested for, and while the equal treatment of women was one of them, they advocated for machismo which was "Revolutionary...Not Oppressive." This fixation on preserving machismo resulted in the group's women, who comprised roughly half of membership, not being taken very seriously by the men. Women were not allowed to hold positions of power within the group, and, in order to combat this, a croup of women withing the Young Lords Party formed a caucus which decided to withhold sexual relations from the male members of the group until their demands, which included positions of power and the removal of machismo from the manifesto, were met. Given that, as an act of solidarity, YLP encouraged inter-group relations and, indeed, many members were romantic couples, this was a significant act; their demands were met within weeks. <ref> https://academic.oup.com/jah/article/91/2/729/866752 </ref> == Asexuality in Pop Culture == Asexual relationships have a reputation for being the underdeveloped, immature versions of 'adult' relationships, and this idea is perpetuated by the most common pop culture representation of asexual relationships: children's media. Love stories are ubiquitous, and children's media is not exempt from this fact. Untold numbers of films, TV shows, and books marketed towards children feature a (usually heterosexual) background romance between two of the main characters. Harry Potter, Percy Jackson, Teen Titans, and functionally every Disney animated movie come to mind. However, because this is media intended for children, it can't include anything sexually explicit, so audiences are left with flirtation, hand-holding, and perhaps even a kiss, all of which are incredibly common in asexual romantic relationships. However, because audiences are only exposed to this kind of sexless romance in the context of media targeted towards children, an implicit association is formed between that kind of intimacy and immaturity. == Asexuality as Deformity == An all-too-common conception held by skeptics is that, if a person truly is asexual, that they truly don't experience sexual arousal, something is fundamentally wrong with them. Their brain is broken, or maybe it's their body, or maybe they just weren't put together right. Either way, it's all too common to believe that asexuals have something wrong with them. Indeed, even the Diagnostic and Statistical Manual of Mental Disorders, the DSM-5, modern psychiatry's little black book, lists hypoactive sexual desire disorder as a legitimate medical concern. Whereas homosexuality as an illness was done away with in the seventies, asexuals today can be quite literally diagnosed with their sexuality. And, more disturbing than that, with any diagnosis comes the conversation of a cure. Products that do anything from target hormone production to stimulate genital blood flow have been brought to market, and, because of the societal doctrine that sex is part of a healthy life and that health is a moral pursuit, it becomes one's moral duty to fix what they're being told is a broken brain. == References == <references/> caf2020cad4f01ea2eb01e457f93c2eeaf9e1791 356 354 2022-10-05T16:03:21Z 9thSaturn 4 wikitext text/x-wiki "Asexual" is most commonly defined as "a lack of sexual attraction," but that begs the question: what constitutes attraction? When does an attraction become sexual? And what does it mean to lack those things? Questions like these result in answers that are complicated, contradictory, and fundamentally queer. == What is Asexuality? == The misunderstanding of asexuality begins with the deification of the orgasm, the belief that it is all-important somehow--indeed, one of its synonyms is 'climax,' and that's how it is viewed in cultural ubiquity. It is the be-all-end-all, the denouement, the goal of every sexual encounter. Given that asexuality defies that by placing other objectives at the goal posts (and, in some cases, removing the goal posts altogether), it makes sense that cultures often don't know what to do with asexuality. Asexuality is queer in the same way that homosexuality is queer: neither orientation can result in reproduction, which is abhorrent to the American Dream, nuclear family societal ideal. The difference is that, while asexuality is often approached with skepticism ('oh, she just hasn't met the right person,' or 'he just hasn't had good sex,' are common refrains), there's no denying that gay sex happens. The right to perform queer sexual acts has been fought for by activists across generations. However, if one looks at it through the lens of inclusionism, it's easy to see that gay sex asks the same question as gay marriage or gay military enlistment: if straight people can do it, why can't we? This, however, is not a very queer question. A queerer question would be: why do we have to do what straight people do in order to be recognized and to feel validated? The asexual answer is that we don't. There are numerous degrees and flavors of asexuality, but a simplified explanation involves two axes: the sexuality axis and the romanticism axis. The sexuality axis deals with how a person feels about sex, with 'sex repulsed' comprising the most negative end and identities like 'sex indifferent,' 'gray asexual,' and 'demisexual' becoming more sex positive as they go. It's impossible to say what the extreme of sex positivity is within the bounds of asexuality because there simply is no hard and fast boundary. The other axis, the romanticism axis, deals more with how an individual feels about other intimate acts that are non-sexual. Again, this is measured on a gradient, and there are no hard lines to be drawn, but while there are certainly asexuals who prefer to stay away from romantic intimacy of any kind, known as 'asexual aromantics,' there are also those who find that non-sexual intimacy and romance is very comfortable and a solid base for a relationship. <ref> https://library.oapen.org/bitstream/handle/20.500.12657/24390/1005725.pdf </ref> == Asexuality & Feminism == Feminism has, in recent times as well but especially in the 1960s and 70s, utilized slogans involving 'sisterhood,' a term which does not telegraph sexuality of any kind and in fact seems to reject it. This can be traced back to commitments of political celibacy commonly made by feminists of that time period. It was nearly consensus that the correct thing was to repurpose the energy they'd been expending on men, commandeering and giving it instead to themselves, other women, and the general cause. This idea, that sexual energy does not necessarily have to be used for sexual purposes, is integral to asexual queerness. At the time, the terms 'asexual' and 'celibate' were used, for all intents and purposes, interchangeably, which exemplifies how political the identity was at the time and plays a role in perpetuating the modern narrative that asexuality is an intentional and active abstinence from sexual activity; it was a choice they made back then, so it's a choice people are making today. While this is the ethos of some who identify as asexual, it is not the blanket truth many believe it to be. One noteworthy event involving political celibacy is the Young Lords Party sex strike of 1970. The Young Lords Party was a street-gang-turned-activist-group with chapters across the United States which focused on protesting for better treatment of Puerto Ricans in American cities and an overall socialist society. The New York chapter, arguably the most well-known, had a manifesto which comprised of 13 tenants. It was called the 13 Point Program, and each point delineated one of the issued they protested for, and while the equal treatment of women was one of them, they advocated for machismo which was "Revolutionary...Not Oppressive." [[File:YLP.jpg|thumb|The New York Young Lords Party 13-Point Plan]] This fixation on preserving machismo resulted in the group's women, who comprised roughly half of membership, not being taken very seriously by the men. Women were not allowed to hold positions of power within the group, and, in order to combat this, a croup of women withing the Young Lords Party formed a caucus which decided to withhold sexual relations from the male members of the group until their demands, which included positions of power and the removal of machismo from the manifesto, were met. Given that, as an act of solidarity, YLP encouraged inter-group relations and, indeed, many members were romantic couples, this was a significant act; their demands were met within weeks. <ref> https://academic.oup.com/jah/article/91/2/729/866752 </ref> == Asexuality in Pop Culture == Asexual relationships have a reputation for being the underdeveloped, immature versions of 'adult' relationships, and this idea is perpetuated by the most common pop culture representation of asexual relationships: children's media. Love stories are ubiquitous, and children's media is not exempt from this fact. Untold numbers of films, TV shows, and books marketed towards children feature a (usually heterosexual) background romance between two of the main characters. Harry Potter, Percy Jackson, Teen Titans, and functionally every Disney animated movie come to mind. However, because this is media intended for children, it can't include anything sexually explicit, so audiences are left with flirtation, hand-holding, and perhaps even a kiss, all of which are incredibly common in asexual romantic relationships. However, because audiences are only exposed to this kind of sexless romance in the context of media targeted towards children, an implicit association is formed between that kind of intimacy and immaturity. == Asexuality as Deformity == An all-too-common conception held by skeptics is that, if a person truly is asexual, that they truly don't experience sexual arousal, something is fundamentally wrong with them. Their brain is broken, or maybe it's their body, or maybe they just weren't put together right. Either way, it's all too common to believe that asexuals have something wrong with them. Indeed, even the Diagnostic and Statistical Manual of Mental Disorders, the DSM-5, modern psychiatry's little black book, lists hypoactive sexual desire disorder as a legitimate medical concern. Whereas homosexuality as an illness was done away with in the seventies, asexuals today can be quite literally diagnosed with their sexuality. And, more disturbing than that, with any diagnosis comes the conversation of a cure. Products that do anything from target hormone production to stimulate genital blood flow have been brought to market, and, because of the societal doctrine that sex is part of a healthy life and that health is a moral pursuit, it becomes one's moral duty to fix what they're being told is a broken brain. == References == <references/> 9ab287557f6f33c0b40b3aa3ecfbae365d642599 357 356 2022-10-05T16:06:15Z 9thSaturn 4 wikitext text/x-wiki "Asexual" is most commonly defined as "a lack of sexual attraction," but that begs the question: what constitutes attraction? When does an attraction become sexual? And what does it mean to lack those things? Questions like these result in answers that are complicated, contradictory, and fundamentally queer. == What is Asexuality? == The misunderstanding of asexuality begins with the deification of the orgasm, the belief that it is all-important somehow--indeed, one of its synonyms is 'climax,' and that's how it is viewed in cultural ubiquity. It is the be-all-end-all, the denouement, the goal of every sexual encounter. Given that asexuality defies that by placing other objectives at the goal posts (and, in some cases, removing the goal posts altogether), it makes sense that cultures often don't know what to do with asexuality. Asexuality is queer in the same way that homosexuality is queer: neither orientation can result in reproduction, which is abhorrent to the American Dream, nuclear family societal ideal. The difference is that, while asexuality is often approached with skepticism ('oh, she just hasn't met the right person,' or 'he just hasn't had good sex,' are common refrains), there's no denying that gay sex happens. The right to perform queer sexual acts has been fought for by activists across generations. However, if one looks at it through the lens of inclusionism, it's easy to see that gay sex asks the same question as gay marriage or gay military enlistment: if straight people can do it, why can't we? This, however, is not a very queer question. A queerer question would be: why do we have to do what straight people do in order to be recognized and to feel validated? The asexual answer is that we don't. There are numerous degrees and flavors of asexuality, but a simplified explanation involves two axes: the sexuality axis and the romanticism axis. The sexuality axis deals with how a person feels about sex, with 'sex repulsed' comprising the most negative end and identities like 'sex indifferent,' 'gray asexual,' and 'demisexual' becoming more sex positive as they go. It's impossible to say what the extreme of sex positivity is within the bounds of asexuality because there simply is no hard and fast boundary. The other axis, the romanticism axis, deals more with how an individual feels about other intimate acts that are non-sexual. Again, this is measured on a gradient, and there are no hard lines to be drawn, but while there are certainly asexuals who prefer to stay away from romantic intimacy of any kind, known as 'asexual aromantics,' there are also those who find that non-sexual intimacy and romance is very comfortable and a solid base for a relationship. <ref> https://library.oapen.org/bitstream/handle/20.500.12657/24390/1005725.pdf </ref> == Asexuality & Feminism == Feminism has, in recent times as well but especially in the 1960s and 70s, utilized slogans involving 'sisterhood,' a term which does not telegraph sexuality of any kind and in fact seems to reject it. This can be traced back to commitments of political celibacy commonly made by feminists of that time period. It was nearly consensus that the correct thing was to repurpose the energy they'd been expending on men, commandeering and giving it instead to themselves, other women, and the general cause. This idea, that sexual energy does not necessarily have to be used for sexual purposes, is integral to asexual queerness. At the time, the terms 'asexual' and 'celibate' were used, for all intents and purposes, interchangeably, which exemplifies how political the identity was at the time and plays a role in perpetuating the modern narrative that asexuality is an intentional and active abstinence from sexual activity; it was a choice they made back then, so it's a choice people are making today. While this is the ethos of some who identify as asexual, it is not the blanket truth many believe it to be. One noteworthy event involving political celibacy is the Young Lords Party sex strike of 1970. The Young Lords Party was a street-gang-turned-activist-group with chapters across the United States which focused on protesting for better treatment of Puerto Ricans in American cities and an overall socialist society. The New York chapter, arguably the most well-known, had a manifesto which comprised of 13 tenants. It was called the 13 Point Program, and each point delineated one of the issued they protested for, and while the equal treatment of women was one of them, they advocated for machismo which was "Revolutionary...Not Oppressive." [[File:YLP.jpg|thumb|The New York Young Lords Party 13-Point Program]] This fixation on preserving machismo resulted in the group's women, who comprised roughly half of membership, not being taken very seriously by the men. Women were not allowed to hold positions of power within the group, and, in order to combat this, a croup of women withing the Young Lords Party formed a caucus which decided to withhold sexual relations from the male members of the group until their demands, which included positions of power and the removal of machismo from the manifesto, were met. Given that, as an act of solidarity, YLP encouraged inter-group relations and, indeed, many members were romantic couples, this was a significant act; their demands were met within weeks. <ref> https://academic.oup.com/jah/article/91/2/729/866752 </ref> == Asexuality in Pop Culture == Asexual relationships have a reputation for being the underdeveloped, immature versions of 'adult' relationships, and this idea is perpetuated by the most common pop culture representation of asexual relationships: children's media. Love stories are ubiquitous, and children's media is not exempt from this fact. Untold numbers of films, TV shows, and books marketed towards children feature a (usually heterosexual) background romance between two of the main characters. Harry Potter, Percy Jackson, Teen Titans, and functionally every Disney animated movie come to mind. However, because this is media intended for children, it can't include anything sexually explicit, so audiences are left with flirtation, hand-holding, and perhaps even a kiss, all of which are incredibly common in asexual romantic relationships. However, because audiences are only exposed to this kind of sexless romance in the context of media targeted towards children, an implicit association is formed between that kind of intimacy and immaturity. == Asexuality as Deformity == An all-too-common conception held by skeptics is that, if a person truly is asexual, that they truly don't experience sexual arousal, something is fundamentally wrong with them. Their brain is broken, or maybe it's their body, or maybe they just weren't put together right. Either way, it's all too common to believe that asexuals have something wrong with them. Indeed, even the Diagnostic and Statistical Manual of Mental Disorders, the DSM-5, modern psychiatry's little black book, lists hypoactive sexual desire disorder as a legitimate medical concern. Whereas homosexuality as an illness was done away with in the seventies, asexuals today can be quite literally diagnosed with their sexuality. And, more disturbing than that, with any diagnosis comes the conversation of a cure. Products that do anything from target hormone production to stimulate genital blood flow have been brought to market, and, because of the societal doctrine that sex is part of a healthy life and that health is a moral pursuit, it becomes one's moral duty to fix what they're being told is a broken brain. <ref> https://books.google.com/books?id=m14MygEACAAJ&printsec=frontcover&source=gbs_ge_summary_r&cad=0#v=onepage&q&f=false </ref> == References == <references/> 08cdf904d85311ce6de679501d6dff4cd13e280a 6 50 355 2022-10-05T16:02:55Z 9thSaturn 4 wikitext text/x-wiki The Young Lords Party 13-Point Manifesto 009da2745f25d9c08bd8696f0fdcc6c6dfb97d81 0 51 358 2022-10-05T21:43:10Z Matrim112830 2 Created page with "The TCU Founders Statue (formal title)" wikitext text/x-wiki The TCU Founders Statue (formal title) eefa857d3b736bf52acee1752462b593db155cf4 359 358 2022-10-05T21:57:50Z Matrim112830 2 wikitext text/x-wiki The TCU Founders Statue (formal title) WIP - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == == Notes == == References == <references/> 658308925b0bb39aa4ce0360f0ef99e9938f5cdb 360 359 2022-10-05T21:58:09Z Matrim112830 2 wikitext text/x-wiki The TCU Founders Statue (formal title) WIP was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == == Notes == == References == <references/> 66a3ea4a69129116640e3483d187b129789bdaef 0 51 361 360 2022-10-05T21:59:04Z Matrim112830 2 wikitext text/x-wiki The TCU Founders Statue (formal title) WIP https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/ was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == == Notes == == References == <references/> eaa84750c8bdde111f2e31d923fb86dc75e48958 0 52 362 2022-10-12T22:12:35Z Catherinecunningham 8 Created page with "The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt”<ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father,..." wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt”<ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character(Wiki link to Queer Coding), but through this wikipedia page we will discuss the queer coding of the main character Becca, and the Bellas rival group, the all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem. At one point they even grab each other's breasts. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersections of fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes” that become their entire personality. For fat amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. 3997ef7a3bc9a891cb629553a1da8e84d1c0d657 363 362 2022-10-12T22:13:01Z Catherinecunningham 8 /* The Lack of Queer Coding in the Treblemakers */ wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt”<ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character(Wiki link to Queer Coding), but through this wikipedia page we will discuss the queer coding of the main character Becca, and the Bellas rival group, the all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem. At one point they even grab each other's breasts. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersections of fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes” that become their entire personality. For fat amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. 1cd9211a2837b48cded8585b1a4a6e71e477c263 364 363 2022-10-12T22:13:33Z Catherinecunningham 8 wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt”<ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character(Wiki link to Queer Coding), but through this wikipedia page we will discuss the queer coding of the main character Becca, and the Bellas rival group, the all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem. At one point they even grab each other's breasts. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersections of fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes” that become their entire personality. For fat amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == References == bc68c73aca83bdb9ef8215cc6aee93b7b7946fc5 365 364 2022-10-12T22:14:08Z Catherinecunningham 8 wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character(Wiki link to Queer Coding), but through this wikipedia page we will discuss the queer coding of the main character Becca, and the Bellas rival group, the all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem. At one point they even grab each other's breasts. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersections of fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes” that become their entire personality. For fat amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == References == b7b1c8cd80999b13e3d6193cbc5afb7ee907a615 366 365 2022-10-12T22:16:46Z Catherinecunningham 8 wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character(Wiki link to Queer Coding), but through this wikipedia page we will discuss the queer coding of the main character Becca, and the Bellas rival group, the all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem. At one point they even grab each other's breasts. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersections of fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes” that become their entire personality. For fat amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == References == 4cdde57431def9109bb4904951016b91dd184097 367 366 2022-10-18T17:27:04Z Catherinecunningham 8 wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character(Wiki link to Queer Coding), but through this wikipedia page we will discuss the queer coding of the main character Becca, and the Bellas rival group, the all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/ ]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc ]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes'' that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == References == 49f7763ab1b6e43506bde8a961264ff07cb77cae 368 367 2022-10-18T17:28:14Z Catherinecunningham 8 /* Queer Coding of Becca */ wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character(Wiki link to Queer Coding), but through this wikipedia page we will discuss the queer coding of the main character Becca, and the Bellas rival group, the all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview [https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/ ]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc ]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes'' that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == References == e1887b4255471d8cc1c47463453fa507a935df21 369 368 2022-10-18T17:28:55Z Catherinecunningham 8 /* Queer Coding of Becca */ wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character(Wiki link to Queer Coding), but through this wikipedia page we will discuss the queer coding of the main character Becca, and the Bellas rival group, the all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes'' that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == References == 95b02af5557360b49cfb1dd56ad58e98088f2036 370 369 2022-10-18T17:29:48Z Catherinecunningham 8 /* Intersectionality of Fatness, Race, and Gender Presentation */ wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character(Wiki link to Queer Coding), but through this wikipedia page we will discuss the queer coding of the main character Becca, and the Bellas rival group, the all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes'' that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == References == 2ddf1f69c6b2e2e1fa38011b78c3bdb948d2d04f 404 370 2022-10-24T18:11:49Z Catherinecunningham 8 wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character(Wiki link to Queer Coding), but through this wikipedia page we will discuss the queer coding of the main character Becca, and the Bellas rival group, the all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes'' that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == For Furthering Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: == References == 131706c3d246deb1fd225d0c96618446271c7846 405 404 2022-10-24T18:13:53Z Catherinecunningham 8 wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character(Wiki link to Queer Coding), but through this wikipedia page we will discuss the queer coding of the main character Becca, and the Bellas rival group, the all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes'' that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == For Furthering Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]] Queer Coding in Lemonade Mouth Queer Coding in Descendents == References == c9ed618bb91a1e8f64f0f6f5fc50ad6d8c03e22c 406 405 2022-10-24T18:14:16Z Catherinecunningham 8 /* For Furthering Reading */ wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character(Wiki link to Queer Coding), but through this wikipedia page we will discuss the queer coding of the main character Becca, and the Bellas rival group, the all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes'' that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == For Furthering Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]], Queer Coding in Lemonade Mouth, Queer Coding in Descendents == References == 65c241ce7876210a06533ca130059281efac3095 0 53 371 2022-10-19T15:40:56Z 138.237.15.109 0 Created page with "''She-Ra and the Princesses of Power'' is a Netflix Original reboot of the beloved 80's ''He-Man'' spinoff of the same name. == Development == == Queer Creators == == Original Participants == == Queer Representation == == Reception == == References == <references/>" wikitext text/x-wiki ''She-Ra and the Princesses of Power'' is a Netflix Original reboot of the beloved 80's ''He-Man'' spinoff of the same name. == Development == == Queer Creators == == Original Participants == == Queer Representation == == Reception == == References == <references/> dd270602e5b612278420614d2d78cd6627b07b90 373 371 2022-10-19T22:10:00Z 138.237.15.27 0 wikitext text/x-wiki ''She-Ra and the Princesses of Power'' is a Netflix Original reboot of the beloved 80's ''He-Man'' spinoff of the same name. == Development == == Queer Creators == == Original Participants == == Queer Representation == Other queer representation in TV shows: ''Steven Universe'' == Reception == == References == <references/> 5e09afbcd11b2721e4960f01cf9eefb0e10f7d90 0 1 372 165 2022-10-19T22:09:36Z Matrim112830 2 wikitext text/x-wiki __NOTOC__ [[File:Future Is So Queer in Ukraine.jpg|thumb|Future Is So Queer in Ukraine]] == Welcome to {{SITENAME}}! == This wiki serves as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. It's major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. === Philosophy === Queer Wiki exists as a space for archiving that does not have the same restrictions that Wikipedia has. One of Wikipedia's core content policies is NPOV, the "neutral" point of view. From Wikipedia <blockquote>"All encyclopedic content on Wikipedia must be written from a neutral point of view (NPOV), which means representing fairly, proportionately, and, as far as possible, without editorial bias, all the significant views that have been published by reliable sources on a topic. NPOV is a fundamental principle of Wikipedia and of other Wikimedia projects. It is also one of Wikipedia's three core content policies; the other two are "Verifiability" and "No original research". These policies jointly determine the type and quality of material acceptable in Wikipedia articles, and because they work in harmony, they should not be interpreted in isolation from one another. Editors are strongly encouraged to familiarize themselves with all three. This policy is non-negotiable, and the principles upon which it is based cannot be superseded by other policies or guidelines, nor by editor consensus." <ref>https://en.wikipedia.org/wiki/Wikipedia:Neutral_point_of_view</ref> </blockquote> QWiki not only questions the possibility of the neutral state, but asserts a QPOV. It asserts no need for "verification" per se, and invites original thought and inquiry. === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, and thank you for visiting this wiki. We are still in the process of developing pages, but feel free to browse or contribute.[[disidentification]] == References == <references/> c1baf81556a8f17c338529998f3c72b8f5323aa1 0 54 374 2022-10-19T22:13:38Z 138.237.15.8 0 Created page with "Transition to Detransition:Twin Sisters == Family == == Family Background == == Sinead Watson == == Psychologic Effects == == Photos == == References == <references/>" wikitext text/x-wiki Transition to Detransition:Twin Sisters == Family == == Family Background == == Sinead Watson == == Psychologic Effects == == Photos == == References == <references/> a0138e6d0ba66ff83018889b6876fecad9b6d43e 828 130 984 2022-10-21T08:04:06Z wikipedia>WOSlinker 0 use require("strict") instead of require("Module:No globals") Scribunto text/plain -- This module implements [[Template:Icon]]. require("strict") local yesNo = require("Module:Yesno") local getArgs = require("Module:Arguments").getArgs local getPlain = nil local p = {} -- Determine whether we're being called from a sandbox local sandbox = mw.getCurrentFrame():getTitle():find('sandbox', 1, true) and '/sandbox' or '' -- Implements [[Template:Icon]] -- Returns the icon image corresponding to a string (like 'B') function p._main(args, data) local data_module = 'Module:Icon/data'..sandbox data = data or mw.loadData(data_module) local code = args.class or args[1] local iconData if code then code = code:match('^%s*(.-)%s*$'):lower() -- trim whitespace and put in lower case iconData = data[code] end if not iconData then iconData = data._DEFAULT end return string.format( '[[File:%s%s%s|%s|class=noviewer|alt=%s]]', iconData.image, iconData.tooltip and '|' .. iconData.tooltip or '', iconData.link == false and '|link=' or '', args.size or '16x16px', iconData.alt or '' ) end -- Implements [[Template:Icon link]], a superset of [[Template:Icon]] -- Returns an icon, plus a suitably formatted wikilink function p._link(args, data) args.size = args.size or args.iconsize local icon = p._main(args, data) -- If no link given in args[2], default back to [[Template:Icon]] if not args[2] then return icon end -- Strip wiki markup out of link getPlain = getPlain or require("Module:Text").Text().getPlain local link = getPlain(args[2]) local display = args[3] or args[2] -- italicize display string, if requested if yesNo(args.i) or yesNo(args.italic) or yesNo(args.italics) then display = '<i>'..display..'</i>' end -- if display is link, just use standard wlink if link == display then return icon..'&nbsp;[['..link..']]' end return icon..'&nbsp;[['..link..'|'..display..']]' end function p.main(frame) local args = getArgs(frame,{parentFirst=true}) return p._main(args) end function p.link(frame) local args = getArgs(frame,{parentFirst=true}) return p._link(args) end return p 7688d9a465bd7c4caa51f7e5c02676c162d583f5 828 138 1000 2022-10-21T08:07:11Z wikipedia>WOSlinker 0 use require('strict') instead of require('Module:No globals') Scribunto text/plain -- This module implements {{pp-meta}} and its daughter templates such as -- {{pp-dispute}}, {{pp-vandalism}} and {{pp-sock}}. -- Initialise necessary modules. require('strict') local makeFileLink = require('Module:File link')._main local effectiveProtectionLevel = require('Module:Effective protection level')._main local effectiveProtectionExpiry = require('Module:Effective protection expiry')._main local yesno = require('Module:Yesno') -- Lazily initialise modules and objects we don't always need. local getArgs, makeMessageBox, lang -- Set constants. local CONFIG_MODULE = 'Module:Protection banner/config' -------------------------------------------------------------------------------- -- Helper functions -------------------------------------------------------------------------------- local function makeCategoryLink(cat, sort) if cat then return string.format( '[[%s:%s|%s]]', mw.site.namespaces[14].name, cat, sort ) end end -- Validation function for the expiry and the protection date local function validateDate(dateString, dateType) if not lang then lang = mw.language.getContentLanguage() end local success, result = pcall(lang.formatDate, lang, 'U', dateString) if success then result = tonumber(result) if result then return result end end error(string.format( 'invalid %s: %s', dateType, tostring(dateString) ), 4) end local function makeFullUrl(page, query, display) return string.format( '[%s %s]', tostring(mw.uri.fullUrl(page, query)), display ) end -- Given a directed graph formatted as node -> table of direct successors, -- get a table of all nodes reachable from a given node (though always -- including the given node). local function getReachableNodes(graph, start) local toWalk, retval = {[start] = true}, {} while true do -- Can't use pairs() since we're adding and removing things as we're iterating local k = next(toWalk) -- This always gets the "first" key if k == nil then return retval end toWalk[k] = nil retval[k] = true for _,v in ipairs(graph[k]) do if not retval[v] then toWalk[v] = true end end end end -------------------------------------------------------------------------------- -- Protection class -------------------------------------------------------------------------------- local Protection = {} Protection.__index = Protection Protection.supportedActions = { edit = true, move = true, autoreview = true, upload = true } Protection.bannerConfigFields = { 'text', 'explanation', 'tooltip', 'alt', 'link', 'image' } function Protection.new(args, cfg, title) local obj = {} obj._cfg = cfg obj.title = title or mw.title.getCurrentTitle() -- Set action if not args.action then obj.action = 'edit' elseif Protection.supportedActions[args.action] then obj.action = args.action else error(string.format( 'invalid action: %s', tostring(args.action) ), 3) end -- Set level obj.level = args.demolevel or effectiveProtectionLevel(obj.action, obj.title) if not obj.level or (obj.action == 'move' and obj.level == 'autoconfirmed') then -- Users need to be autoconfirmed to move pages anyway, so treat -- semi-move-protected pages as unprotected. obj.level = '*' end -- Set expiry local effectiveExpiry = effectiveProtectionExpiry(obj.action, obj.title) if effectiveExpiry == 'infinity' then obj.expiry = 'indef' elseif effectiveExpiry ~= 'unknown' then obj.expiry = validateDate(effectiveExpiry, 'expiry date') end -- Set reason if args[1] then obj.reason = mw.ustring.lower(args[1]) if obj.reason:find('|') then error('reasons cannot contain the pipe character ("|")', 3) end end -- Set protection date if args.date then obj.protectionDate = validateDate(args.date, 'protection date') end -- Set banner config do obj.bannerConfig = {} local configTables = {} if cfg.banners[obj.action] then configTables[#configTables + 1] = cfg.banners[obj.action][obj.reason] end if cfg.defaultBanners[obj.action] then configTables[#configTables + 1] = cfg.defaultBanners[obj.action][obj.level] configTables[#configTables + 1] = cfg.defaultBanners[obj.action].default end configTables[#configTables + 1] = cfg.masterBanner for i, field in ipairs(Protection.bannerConfigFields) do for j, t in ipairs(configTables) do if t[field] then obj.bannerConfig[field] = t[field] break end end end end return setmetatable(obj, Protection) end function Protection:isUserScript() -- Whether the page is a user JavaScript or CSS page. local title = self.title return title.namespace == 2 and ( title.contentModel == 'javascript' or title.contentModel == 'css' ) end function Protection:isProtected() return self.level ~= '*' end function Protection:shouldShowLock() -- Whether we should output a banner/padlock return self:isProtected() and not self:isUserScript() end -- Whether this page needs a protection category. Protection.shouldHaveProtectionCategory = Protection.shouldShowLock function Protection:isTemporary() return type(self.expiry) == 'number' end function Protection:makeProtectionCategory() if not self:shouldHaveProtectionCategory() then return '' end local cfg = self._cfg local title = self.title -- Get the expiry key fragment. local expiryFragment if self.expiry == 'indef' then expiryFragment = self.expiry elseif type(self.expiry) == 'number' then expiryFragment = 'temp' end -- Get the namespace key fragment. local namespaceFragment = cfg.categoryNamespaceKeys[title.namespace] if not namespaceFragment and title.namespace % 2 == 1 then namespaceFragment = 'talk' end -- Define the order that key fragments are tested in. This is done with an -- array of tables containing the value to be tested, along with its -- position in the cfg.protectionCategories table. local order = { {val = expiryFragment, keypos = 1}, {val = namespaceFragment, keypos = 2}, {val = self.reason, keypos = 3}, {val = self.level, keypos = 4}, {val = self.action, keypos = 5} } --[[ -- The old protection templates used an ad-hoc protection category system, -- with some templates prioritising namespaces in their categories, and -- others prioritising the protection reason. To emulate this in this module -- we use the config table cfg.reasonsWithNamespacePriority to set the -- reasons for which namespaces have priority over protection reason. -- If we are dealing with one of those reasons, move the namespace table to -- the end of the order table, i.e. give it highest priority. If not, the -- reason should have highest priority, so move that to the end of the table -- instead. --]] table.insert(order, table.remove(order, self.reason and cfg.reasonsWithNamespacePriority[self.reason] and 2 or 3)) --[[ -- Define the attempt order. Inactive subtables (subtables with nil "value" -- fields) are moved to the end, where they will later be given the key -- "all". This is to cut down on the number of table lookups in -- cfg.protectionCategories, which grows exponentially with the number of -- non-nil keys. We keep track of the number of active subtables with the -- noActive parameter. --]] local noActive, attemptOrder do local active, inactive = {}, {} for i, t in ipairs(order) do if t.val then active[#active + 1] = t else inactive[#inactive + 1] = t end end noActive = #active attemptOrder = active for i, t in ipairs(inactive) do attemptOrder[#attemptOrder + 1] = t end end --[[ -- Check increasingly generic key combinations until we find a match. If a -- specific category exists for the combination of key fragments we are -- given, that match will be found first. If not, we keep trying different -- key fragment combinations until we match using the key -- "all-all-all-all-all". -- -- To generate the keys, we index the key subtables using a binary matrix -- with indexes i and j. j is only calculated up to the number of active -- subtables. For example, if there were three active subtables, the matrix -- would look like this, with 0 corresponding to the key fragment "all", and -- 1 corresponding to other key fragments. -- -- j 1 2 3 -- i -- 1 1 1 1 -- 2 0 1 1 -- 3 1 0 1 -- 4 0 0 1 -- 5 1 1 0 -- 6 0 1 0 -- 7 1 0 0 -- 8 0 0 0 -- -- Values of j higher than the number of active subtables are set -- to the string "all". -- -- A key for cfg.protectionCategories is constructed for each value of i. -- The position of the value in the key is determined by the keypos field in -- each subtable. --]] local cats = cfg.protectionCategories for i = 1, 2^noActive do local key = {} for j, t in ipairs(attemptOrder) do if j > noActive then key[t.keypos] = 'all' else local quotient = i / 2 ^ (j - 1) quotient = math.ceil(quotient) if quotient % 2 == 1 then key[t.keypos] = t.val else key[t.keypos] = 'all' end end end key = table.concat(key, '|') local attempt = cats[key] if attempt then return makeCategoryLink(attempt, title.text) end end return '' end function Protection:isIncorrect() local expiry = self.expiry return not self:shouldHaveProtectionCategory() or type(expiry) == 'number' and expiry < os.time() end function Protection:isTemplateProtectedNonTemplate() local action, namespace = self.action, self.title.namespace return self.level == 'templateeditor' and ( (action ~= 'edit' and action ~= 'move') or (namespace ~= 10 and namespace ~= 828) ) end function Protection:makeCategoryLinks() local msg = self._cfg.msg local ret = {self:makeProtectionCategory()} if self:isIncorrect() then ret[#ret + 1] = makeCategoryLink( msg['tracking-category-incorrect'], self.title.text ) end if self:isTemplateProtectedNonTemplate() then ret[#ret + 1] = makeCategoryLink( msg['tracking-category-template'], self.title.text ) end return table.concat(ret) end -------------------------------------------------------------------------------- -- Blurb class -------------------------------------------------------------------------------- local Blurb = {} Blurb.__index = Blurb Blurb.bannerTextFields = { text = true, explanation = true, tooltip = true, alt = true, link = true } function Blurb.new(protectionObj, args, cfg) return setmetatable({ _cfg = cfg, _protectionObj = protectionObj, _args = args }, Blurb) end -- Private methods -- function Blurb:_formatDate(num) -- Formats a Unix timestamp into dd Month, YYYY format. lang = lang or mw.language.getContentLanguage() local success, date = pcall( lang.formatDate, lang, self._cfg.msg['expiry-date-format'] or 'j F Y', '@' .. tostring(num) ) if success then return date end end function Blurb:_getExpandedMessage(msgKey) return self:_substituteParameters(self._cfg.msg[msgKey]) end function Blurb:_substituteParameters(msg) if not self._params then local parameterFuncs = {} parameterFuncs.CURRENTVERSION = self._makeCurrentVersionParameter parameterFuncs.EDITREQUEST = self._makeEditRequestParameter parameterFuncs.EXPIRY = self._makeExpiryParameter parameterFuncs.EXPLANATIONBLURB = self._makeExplanationBlurbParameter parameterFuncs.IMAGELINK = self._makeImageLinkParameter parameterFuncs.INTROBLURB = self._makeIntroBlurbParameter parameterFuncs.INTROFRAGMENT = self._makeIntroFragmentParameter parameterFuncs.PAGETYPE = self._makePagetypeParameter parameterFuncs.PROTECTIONBLURB = self._makeProtectionBlurbParameter parameterFuncs.PROTECTIONDATE = self._makeProtectionDateParameter parameterFuncs.PROTECTIONLEVEL = self._makeProtectionLevelParameter parameterFuncs.PROTECTIONLOG = self._makeProtectionLogParameter parameterFuncs.TALKPAGE = self._makeTalkPageParameter parameterFuncs.TOOLTIPBLURB = self._makeTooltipBlurbParameter parameterFuncs.TOOLTIPFRAGMENT = self._makeTooltipFragmentParameter parameterFuncs.VANDAL = self._makeVandalTemplateParameter self._params = setmetatable({}, { __index = function (t, k) local param if parameterFuncs[k] then param = parameterFuncs[k](self) end param = param or '' t[k] = param return param end }) end msg = msg:gsub('${(%u+)}', self._params) return msg end function Blurb:_makeCurrentVersionParameter() -- A link to the page history or the move log, depending on the kind of -- protection. local pagename = self._protectionObj.title.prefixedText if self._protectionObj.action == 'move' then -- We need the move log link. return makeFullUrl( 'Special:Log', {type = 'move', page = pagename}, self:_getExpandedMessage('current-version-move-display') ) else -- We need the history link. return makeFullUrl( pagename, {action = 'history'}, self:_getExpandedMessage('current-version-edit-display') ) end end function Blurb:_makeEditRequestParameter() local mEditRequest = require('Module:Submit an edit request') local action = self._protectionObj.action local level = self._protectionObj.level -- Get the edit request type. local requestType if action == 'edit' then if level == 'autoconfirmed' then requestType = 'semi' elseif level == 'extendedconfirmed' then requestType = 'extended' elseif level == 'templateeditor' then requestType = 'template' end end requestType = requestType or 'full' -- Get the display value. local display = self:_getExpandedMessage('edit-request-display') return mEditRequest._link{type = requestType, display = display} end function Blurb:_makeExpiryParameter() local expiry = self._protectionObj.expiry if type(expiry) == 'number' then return self:_formatDate(expiry) else return expiry end end function Blurb:_makeExplanationBlurbParameter() -- Cover special cases first. if self._protectionObj.title.namespace == 8 then -- MediaWiki namespace return self:_getExpandedMessage('explanation-blurb-nounprotect') end -- Get explanation blurb table keys local action = self._protectionObj.action local level = self._protectionObj.level local talkKey = self._protectionObj.title.isTalkPage and 'talk' or 'subject' -- Find the message in the explanation blurb table and substitute any -- parameters. local explanations = self._cfg.explanationBlurbs local msg if explanations[action][level] and explanations[action][level][talkKey] then msg = explanations[action][level][talkKey] elseif explanations[action][level] and explanations[action][level].default then msg = explanations[action][level].default elseif explanations[action].default and explanations[action].default[talkKey] then msg = explanations[action].default[talkKey] elseif explanations[action].default and explanations[action].default.default then msg = explanations[action].default.default else error(string.format( 'could not find explanation blurb for action "%s", level "%s" and talk key "%s"', action, level, talkKey ), 8) end return self:_substituteParameters(msg) end function Blurb:_makeImageLinkParameter() local imageLinks = self._cfg.imageLinks local action = self._protectionObj.action local level = self._protectionObj.level local msg if imageLinks[action][level] then msg = imageLinks[action][level] elseif imageLinks[action].default then msg = imageLinks[action].default else msg = imageLinks.edit.default end return self:_substituteParameters(msg) end function Blurb:_makeIntroBlurbParameter() if self._protectionObj:isTemporary() then return self:_getExpandedMessage('intro-blurb-expiry') else return self:_getExpandedMessage('intro-blurb-noexpiry') end end function Blurb:_makeIntroFragmentParameter() if self._protectionObj:isTemporary() then return self:_getExpandedMessage('intro-fragment-expiry') else return self:_getExpandedMessage('intro-fragment-noexpiry') end end function Blurb:_makePagetypeParameter() local pagetypes = self._cfg.pagetypes return pagetypes[self._protectionObj.title.namespace] or pagetypes.default or error('no default pagetype defined', 8) end function Blurb:_makeProtectionBlurbParameter() local protectionBlurbs = self._cfg.protectionBlurbs local action = self._protectionObj.action local level = self._protectionObj.level local msg if protectionBlurbs[action][level] then msg = protectionBlurbs[action][level] elseif protectionBlurbs[action].default then msg = protectionBlurbs[action].default elseif protectionBlurbs.edit.default then msg = protectionBlurbs.edit.default else error('no protection blurb defined for protectionBlurbs.edit.default', 8) end return self:_substituteParameters(msg) end function Blurb:_makeProtectionDateParameter() local protectionDate = self._protectionObj.protectionDate if type(protectionDate) == 'number' then return self:_formatDate(protectionDate) else return protectionDate end end function Blurb:_makeProtectionLevelParameter() local protectionLevels = self._cfg.protectionLevels local action = self._protectionObj.action local level = self._protectionObj.level local msg if protectionLevels[action][level] then msg = protectionLevels[action][level] elseif protectionLevels[action].default then msg = protectionLevels[action].default elseif protectionLevels.edit.default then msg = protectionLevels.edit.default else error('no protection level defined for protectionLevels.edit.default', 8) end return self:_substituteParameters(msg) end function Blurb:_makeProtectionLogParameter() local pagename = self._protectionObj.title.prefixedText if self._protectionObj.action == 'autoreview' then -- We need the pending changes log. return makeFullUrl( 'Special:Log', {type = 'stable', page = pagename}, self:_getExpandedMessage('pc-log-display') ) else -- We need the protection log. return makeFullUrl( 'Special:Log', {type = 'protect', page = pagename}, self:_getExpandedMessage('protection-log-display') ) end end function Blurb:_makeTalkPageParameter() return string.format( '[[%s:%s#%s|%s]]', mw.site.namespaces[self._protectionObj.title.namespace].talk.name, self._protectionObj.title.text, self._args.section or 'top', self:_getExpandedMessage('talk-page-link-display') ) end function Blurb:_makeTooltipBlurbParameter() if self._protectionObj:isTemporary() then return self:_getExpandedMessage('tooltip-blurb-expiry') else return self:_getExpandedMessage('tooltip-blurb-noexpiry') end end function Blurb:_makeTooltipFragmentParameter() if self._protectionObj:isTemporary() then return self:_getExpandedMessage('tooltip-fragment-expiry') else return self:_getExpandedMessage('tooltip-fragment-noexpiry') end end function Blurb:_makeVandalTemplateParameter() return mw.getCurrentFrame():expandTemplate{ title="vandal-m", args={self._args.user or self._protectionObj.title.baseText} } end -- Public methods -- function Blurb:makeBannerText(key) -- Validate input. if not key or not Blurb.bannerTextFields[key] then error(string.format( '"%s" is not a valid banner config field', tostring(key) ), 2) end -- Generate the text. local msg = self._protectionObj.bannerConfig[key] if type(msg) == 'string' then return self:_substituteParameters(msg) elseif type(msg) == 'function' then msg = msg(self._protectionObj, self._args) if type(msg) ~= 'string' then error(string.format( 'bad output from banner config function with key "%s"' .. ' (expected string, got %s)', tostring(key), type(msg) ), 4) end return self:_substituteParameters(msg) end end -------------------------------------------------------------------------------- -- BannerTemplate class -------------------------------------------------------------------------------- local BannerTemplate = {} BannerTemplate.__index = BannerTemplate function BannerTemplate.new(protectionObj, cfg) local obj = {} obj._cfg = cfg -- Set the image filename. local imageFilename = protectionObj.bannerConfig.image if imageFilename then obj._imageFilename = imageFilename else -- If an image filename isn't specified explicitly in the banner config, -- generate it from the protection status and the namespace. local action = protectionObj.action local level = protectionObj.level local namespace = protectionObj.title.namespace local reason = protectionObj.reason -- Deal with special cases first. if ( namespace == 10 or namespace == 828 or reason and obj._cfg.indefImageReasons[reason] ) and action == 'edit' and level == 'sysop' and not protectionObj:isTemporary() then -- Fully protected modules and templates get the special red "indef" -- padlock. obj._imageFilename = obj._cfg.msg['image-filename-indef'] else -- Deal with regular protection types. local images = obj._cfg.images if images[action] then if images[action][level] then obj._imageFilename = images[action][level] elseif images[action].default then obj._imageFilename = images[action].default end end end end return setmetatable(obj, BannerTemplate) end function BannerTemplate:renderImage() local filename = self._imageFilename or self._cfg.msg['image-filename-default'] or 'Transparent.gif' return makeFileLink{ file = filename, size = (self.imageWidth or 20) .. 'px', alt = self._imageAlt, link = self._imageLink, caption = self.imageCaption } end -------------------------------------------------------------------------------- -- Banner class -------------------------------------------------------------------------------- local Banner = setmetatable({}, BannerTemplate) Banner.__index = Banner function Banner.new(protectionObj, blurbObj, cfg) local obj = BannerTemplate.new(protectionObj, cfg) -- This doesn't need the blurb. obj.imageWidth = 40 obj.imageCaption = blurbObj:makeBannerText('alt') -- Large banners use the alt text for the tooltip. obj._reasonText = blurbObj:makeBannerText('text') obj._explanationText = blurbObj:makeBannerText('explanation') obj._page = protectionObj.title.prefixedText -- Only makes a difference in testing. return setmetatable(obj, Banner) end function Banner:__tostring() -- Renders the banner. makeMessageBox = makeMessageBox or require('Module:Message box').main local reasonText = self._reasonText or error('no reason text set', 2) local explanationText = self._explanationText local mbargs = { page = self._page, type = 'protection', image = self:renderImage(), text = string.format( "'''%s'''%s", reasonText, explanationText and '<br />' .. explanationText or '' ) } return makeMessageBox('mbox', mbargs) end -------------------------------------------------------------------------------- -- Padlock class -------------------------------------------------------------------------------- local Padlock = setmetatable({}, BannerTemplate) Padlock.__index = Padlock function Padlock.new(protectionObj, blurbObj, cfg) local obj = BannerTemplate.new(protectionObj, cfg) -- This doesn't need the blurb. obj.imageWidth = 20 obj.imageCaption = blurbObj:makeBannerText('tooltip') obj._imageAlt = blurbObj:makeBannerText('alt') obj._imageLink = blurbObj:makeBannerText('link') obj._indicatorName = cfg.padlockIndicatorNames[protectionObj.action] or cfg.padlockIndicatorNames.default or 'pp-default' return setmetatable(obj, Padlock) end function Padlock:__tostring() local frame = mw.getCurrentFrame() -- The nowiki tag helps prevent whitespace at the top of articles. return frame:extensionTag{name = 'nowiki'} .. frame:extensionTag{ name = 'indicator', args = {name = self._indicatorName}, content = self:renderImage() } end -------------------------------------------------------------------------------- -- Exports -------------------------------------------------------------------------------- local p = {} function p._exportClasses() -- This is used for testing purposes. return { Protection = Protection, Blurb = Blurb, BannerTemplate = BannerTemplate, Banner = Banner, Padlock = Padlock, } end function p._main(args, cfg, title) args = args or {} cfg = cfg or require(CONFIG_MODULE) local protectionObj = Protection.new(args, cfg, title) local ret = {} -- If a page's edit protection is equally or more restrictive than its -- protection from some other action, then don't bother displaying anything -- for the other action (except categories). if not yesno(args.catonly) and (protectionObj.action == 'edit' or args.demolevel or not getReachableNodes( cfg.hierarchy, protectionObj.level )[effectiveProtectionLevel('edit', protectionObj.title)]) then -- Initialise the blurb object local blurbObj = Blurb.new(protectionObj, args, cfg) -- Render the banner if protectionObj:shouldShowLock() then ret[#ret + 1] = tostring( (yesno(args.small) and Padlock or Banner) .new(protectionObj, blurbObj, cfg) ) end end -- Render the categories if yesno(args.category) ~= false then ret[#ret + 1] = protectionObj:makeCategoryLinks() end return table.concat(ret) end function p.main(frame, cfg) cfg = cfg or require(CONFIG_MODULE) -- Find default args, if any. local parent = frame.getParent and frame:getParent() local defaultArgs = parent and cfg.wrappers[parent:getTitle():gsub('/sandbox$', '')] -- Find user args, and use the parent frame if we are being called from a -- wrapper template. getArgs = getArgs or require('Module:Arguments').getArgs local userArgs = getArgs(frame, { parentOnly = defaultArgs, frameOnly = not defaultArgs }) -- Build the args table. User-specified args overwrite default args. local args = {} for k, v in pairs(defaultArgs or {}) do args[k] = v end for k, v in pairs(userArgs) do args[k] = v end return p._main(args, cfg) end return p 894f0884d4c2da1ce19d385b96f59af654b0946a 828 116 956 2022-10-21T09:52:18Z wikipedia>WOSlinker 0 use require("strict") instead of require("Module:No globals") Scribunto text/plain -- This module de-links most wikitext. require("strict") local p = {} local getArgs local function delinkReversePipeTrick(s) if s:match("^%[%[|.*[|\n]") then -- Check for newlines or multiple pipes. return s end return s:match("%[%[|(.*)%]%]") end local function delinkPipeTrick(s) -- We need to deal with colons, brackets, and commas, per [[Help:Pipe trick]]. -- First, remove the text before the first colon, if any. if s:match(":") then s = s:match("%[%[.-:(.*)|%]%]") -- If there are no colons, grab all of the text apart from the square brackets and the pipe. else s = s:match("%[%[(.*)|%]%]") end -- Next up, brackets and commas. if s:match("%(.-%)$") then -- Brackets trump commas. s = s:match("(.-) ?%(.-%)$") elseif s:match(",") then -- If there are no brackets, display only the text before the first comma. s = s:match("(.-),.*$") end return s end -- Return wikilink target |wikilinks=target local function getDelinkedTarget(s) local result = s -- Deal with the reverse pipe trick. if result:match("%[%[|") then return delinkReversePipeTrick(result) end result = mw.uri.decode(result, "PATH") -- decode percent-encoded entities. Leave underscores and plus signs. result = mw.text.decode(result, true) -- decode HTML entities. -- Check for bad titles. To do this we need to find the -- title area of the link, i.e. the part before any pipes. local target_area if result:match("|") then -- Find if we're dealing with a piped link. target_area = result:match("^%[%[(.-)|.*%]%]") else target_area = result:match("^%[%[(.-)%]%]") end -- Check for bad characters. if mw.ustring.match(target_area, "[%[%]<>{}%%%c\n]") and mw.ustring.match(target_area, "[%[%]<>{}%%%c\n]") ~= "?" then return s end return target_area end local function getDelinkedLabel(s) local result = s -- Deal with the reverse pipe trick. if result:match("%[%[|") then return delinkReversePipeTrick(result) end result = mw.uri.decode(result, "PATH") -- decode percent-encoded entities. Leave underscores and plus signs. result = mw.text.decode(result, true) -- decode HTML entities. -- Check for bad titles. To do this we need to find the -- title area of the link, i.e. the part before any pipes. local target_area if result:match("|") then -- Find if we're dealing with a piped link. target_area = result:match("^%[%[(.-)|.*%]%]") else target_area = result:match("^%[%[(.-)%]%]") end -- Check for bad characters. if mw.ustring.match(target_area, "[%[%]<>{}%%%c\n]") and mw.ustring.match(target_area, "[%[%]<>{}%%%c\n]") ~= "?" then return s end -- Check for categories, interwikis, and files. local colon_prefix = result:match("%[%[(.-):.*%]%]") or "" -- Get the text before the first colon. local ns = mw.site.namespaces[colon_prefix] -- see if this is a known namespace if mw.language.isKnownLanguageTag(colon_prefix) or (ns and (ns.canonicalName == "File" or ns.canonicalName == "Category")) then return "" end -- Remove the colon if the link is using the [[Help:Colon trick]]. if result:match("%[%[:") then result = "[[" .. result:match("%[%[:(.*%]%])") end -- Deal with links using the [[Help:Pipe trick]]. if mw.ustring.match(result, "^%[%[[^|]*|%]%]") then return delinkPipeTrick(result) end -- Find the display area of the wikilink if result:match("|") then -- Find if we're dealing with a piped link. result = result:match("^%[%[.-|(.+)%]%]") -- Remove new lines from the display of multiline piped links, -- where the pipe is before the first new line. result = result:gsub("\n", "") else result = result:match("^%[%[(.-)%]%]") end return result end local function delinkURL(s) -- Assume we have already delinked internal wikilinks, and that -- we have been passed some text between two square brackets [foo]. -- If the text contains a line break it is not formatted as a URL, regardless of other content. if s:match("\n") then return s end -- Check if the text has a valid URL prefix and at least one valid URL character. local valid_url_prefixes = {"//", "http://", "https://", "ftp://", "gopher://", "mailto:", "news:", "irc://"} local url_prefix for _ ,v in ipairs(valid_url_prefixes) do if mw.ustring.match(s, '^%[' .. v ..'[^"%s].*%]' ) then url_prefix = v break end end -- Get display text if not url_prefix then return s end s = s:match("^%[" .. url_prefix .. "(.*)%]") -- Grab all of the text after the URL prefix and before the final square bracket. s = s:match('^.-(["<> ].*)') or "" -- Grab all of the text after the first URL separator character ("<> ). s = mw.ustring.match(s, "^%s*(%S.*)$") or "" -- If the separating character was a space, trim it off. local s_decoded = mw.text.decode(s, true) if mw.ustring.match(s_decoded, "%c") then return s end return s_decoded end local function delinkLinkClass(text, pattern, delinkFunction) if type(text) ~= "string" then error("Attempt to de-link non-string input.", 2) end if type(pattern) ~= "string" or mw.ustring.sub(pattern, 1, 1) ~= "^" then error('Invalid pattern detected. Patterns must begin with "^".', 2) end -- Iterate over the text string, and replace any matched text. using the -- delink function. We need to iterate character by character rather -- than just use gsub, otherwise nested links aren't detected properly. local result = "" while text ~= "" do -- Replace text using one iteration of gsub. text = mw.ustring.gsub(text, pattern, delinkFunction, 1) -- Append the left-most character to the result string. result = result .. mw.ustring.sub(text, 1, 1) text = mw.ustring.sub(text, 2, -1) end return result end function p._delink(args) local text = args[1] or "" if args.refs == "yes" then -- Remove any [[Help:Strip markers]] representing ref tags. In most situations -- this is not a good idea - only use it if you know what you are doing! text = mw.ustring.gsub(text, "UNIQ%w*%-ref%-%d*%-QINU", "") end if args.comments ~= "no" then text = text:gsub("<!%-%-.-%-%->", "") -- Remove html comments. end if args.wikilinks ~= "no" and args.wikilinks ~= "target" then -- De-link wikilinks and return the label portion of the wikilink. text = delinkLinkClass(text, "^%[%[.-%]%]", getDelinkedLabel) elseif args.wikilinks == "target" then -- De-link wikilinks and return the target portions of the wikilink. text = delinkLinkClass(text, "^%[%[.-%]%]", getDelinkedTarget) end if args.urls ~= "no" then text = delinkLinkClass(text, "^%[.-%]", delinkURL) -- De-link URLs. end if args.whitespace ~= "no" then -- Replace single new lines with a single space, but leave double new lines -- and new lines only containing spaces or tabs before a second new line. text = mw.ustring.gsub(text, "([^\n \t][ \t]*)\n([ \t]*[^\n \t])", "%1 %2") text = text:gsub("[ \t]+", " ") -- Remove extra tabs and spaces. end return text end function p.delink(frame) if not getArgs then getArgs = require('Module:Arguments').getArgs end return p._delink(getArgs(frame, {wrappers = 'Template:Delink'})) end return p 5b8e75ac750b5d3ed76cc4158aefcd1568a6a6fd 828 96 916 2022-10-23T04:26:44Z wikipedia>Legoktm 0 Replace [[Module:No globals]] with require( "strict" ) Scribunto text/plain require('strict') local getArgs local yesno = require('Module:Yesno') local lang = mw.language.getContentLanguage() local CONFIG_MODULE = 'Module:Message box/configuration' local DEMOSPACES = {talk = 'tmbox', image = 'imbox', file = 'imbox', category = 'cmbox', article = 'ambox', main = 'ambox'} -------------------------------------------------------------------------------- -- Helper functions -------------------------------------------------------------------------------- local function getTitleObject(...) -- Get the title object, passing the function through pcall -- in case we are over the expensive function count limit. local success, title = pcall(mw.title.new, ...) if success then return title end end local function union(t1, t2) -- Returns the union of two arrays. local vals = {} for i, v in ipairs(t1) do vals[v] = true end for i, v in ipairs(t2) do vals[v] = true end local ret = {} for k in pairs(vals) do table.insert(ret, k) end table.sort(ret) return ret end local function getArgNums(args, prefix) local nums = {} for k, v in pairs(args) do local num = mw.ustring.match(tostring(k), '^' .. prefix .. '([1-9]%d*)$') if num then table.insert(nums, tonumber(num)) end end table.sort(nums) return nums end -------------------------------------------------------------------------------- -- Box class definition -------------------------------------------------------------------------------- local MessageBox = {} MessageBox.__index = MessageBox function MessageBox.new(boxType, args, cfg) args = args or {} local obj = {} -- Set the title object and the namespace. obj.title = getTitleObject(args.page) or mw.title.getCurrentTitle() -- Set the config for our box type. obj.cfg = cfg[boxType] if not obj.cfg then local ns = obj.title.namespace -- boxType is "mbox" or invalid input if args.demospace and args.demospace ~= '' then -- implement demospace parameter of mbox local demospace = string.lower(args.demospace) if DEMOSPACES[demospace] then -- use template from DEMOSPACES obj.cfg = cfg[DEMOSPACES[demospace]] elseif string.find( demospace, 'talk' ) then -- demo as a talk page obj.cfg = cfg.tmbox else -- default to ombox obj.cfg = cfg.ombox end elseif ns == 0 then obj.cfg = cfg.ambox -- main namespace elseif ns == 6 then obj.cfg = cfg.imbox -- file namespace elseif ns == 14 then obj.cfg = cfg.cmbox -- category namespace else local nsTable = mw.site.namespaces[ns] if nsTable and nsTable.isTalk then obj.cfg = cfg.tmbox -- any talk namespace else obj.cfg = cfg.ombox -- other namespaces or invalid input end end end -- Set the arguments, and remove all blank arguments except for the ones -- listed in cfg.allowBlankParams. do local newArgs = {} for k, v in pairs(args) do if v ~= '' then newArgs[k] = v end end for i, param in ipairs(obj.cfg.allowBlankParams or {}) do newArgs[param] = args[param] end obj.args = newArgs end -- Define internal data structure. obj.categories = {} obj.classes = {} -- For lazy loading of [[Module:Category handler]]. obj.hasCategories = false return setmetatable(obj, MessageBox) end function MessageBox:addCat(ns, cat, sort) if not cat then return nil end if sort then cat = string.format('[[Category:%s|%s]]', cat, sort) else cat = string.format('[[Category:%s]]', cat) end self.hasCategories = true self.categories[ns] = self.categories[ns] or {} table.insert(self.categories[ns], cat) end function MessageBox:addClass(class) if not class then return nil end table.insert(self.classes, class) end function MessageBox:setParameters() local args = self.args local cfg = self.cfg -- Get type data. self.type = args.type local typeData = cfg.types[self.type] self.invalidTypeError = cfg.showInvalidTypeError and self.type and not typeData typeData = typeData or cfg.types[cfg.default] self.typeClass = typeData.class self.typeImage = typeData.image -- Find if the box has been wrongly substituted. self.isSubstituted = cfg.substCheck and args.subst == 'SUBST' -- Find whether we are using a small message box. self.isSmall = cfg.allowSmall and ( cfg.smallParam and args.small == cfg.smallParam or not cfg.smallParam and yesno(args.small) ) -- Add attributes, classes and styles. self.id = args.id self.name = args.name if self.name then self:addClass('box-' .. string.gsub(self.name,' ','_')) end if yesno(args.plainlinks) ~= false then self:addClass('plainlinks') end for _, class in ipairs(cfg.classes or {}) do self:addClass(class) end if self.isSmall then self:addClass(cfg.smallClass or 'mbox-small') end self:addClass(self.typeClass) self:addClass(args.class) self.style = args.style self.attrs = args.attrs -- Set text style. self.textstyle = args.textstyle -- Find if we are on the template page or not. This functionality is only -- used if useCollapsibleTextFields is set, or if both cfg.templateCategory -- and cfg.templateCategoryRequireName are set. self.useCollapsibleTextFields = cfg.useCollapsibleTextFields if self.useCollapsibleTextFields or cfg.templateCategory and cfg.templateCategoryRequireName then if self.name then local templateName = mw.ustring.match( self.name, '^[tT][eE][mM][pP][lL][aA][tT][eE][%s_]*:[%s_]*(.*)$' ) or self.name templateName = 'Template:' .. templateName self.templateTitle = getTitleObject(templateName) end self.isTemplatePage = self.templateTitle and mw.title.equals(self.title, self.templateTitle) end -- Process data for collapsible text fields. At the moment these are only -- used in {{ambox}}. if self.useCollapsibleTextFields then -- Get the self.issue value. if self.isSmall and args.smalltext then self.issue = args.smalltext else local sect if args.sect == '' then sect = 'This ' .. (cfg.sectionDefault or 'page') elseif type(args.sect) == 'string' then sect = 'This ' .. args.sect end local issue = args.issue issue = type(issue) == 'string' and issue ~= '' and issue or nil local text = args.text text = type(text) == 'string' and text or nil local issues = {} table.insert(issues, sect) table.insert(issues, issue) table.insert(issues, text) self.issue = table.concat(issues, ' ') end -- Get the self.talk value. local talk = args.talk -- Show talk links on the template page or template subpages if the talk -- parameter is blank. if talk == '' and self.templateTitle and ( mw.title.equals(self.templateTitle, self.title) or self.title:isSubpageOf(self.templateTitle) ) then talk = '#' elseif talk == '' then talk = nil end if talk then -- If the talk value is a talk page, make a link to that page. Else -- assume that it's a section heading, and make a link to the talk -- page of the current page with that section heading. local talkTitle = getTitleObject(talk) local talkArgIsTalkPage = true if not talkTitle or not talkTitle.isTalkPage then talkArgIsTalkPage = false talkTitle = getTitleObject( self.title.text, mw.site.namespaces[self.title.namespace].talk.id ) end if talkTitle and talkTitle.exists then local talkText if self.isSmall then local talkLink = talkArgIsTalkPage and talk or (talkTitle.prefixedText .. '#' .. talk) talkText = string.format('([[%s|talk]])', talkLink) else talkText = 'Relevant discussion may be found on' if talkArgIsTalkPage then talkText = string.format( '%s [[%s|%s]].', talkText, talk, talkTitle.prefixedText ) else talkText = string.format( '%s the [[%s#%s|talk page]].', talkText, talkTitle.prefixedText, talk ) end end self.talk = talkText end end -- Get other values. self.fix = args.fix ~= '' and args.fix or nil local date if args.date and args.date ~= '' then date = args.date elseif args.date == '' and self.isTemplatePage then date = lang:formatDate('F Y') end if date then self.date = string.format(" <span class='date-container'><i>(<span class='date'>%s</span>)</i></span>", date) end self.info = args.info if yesno(args.removalnotice) then self.removalNotice = cfg.removalNotice end end -- Set the non-collapsible text field. At the moment this is used by all box -- types other than ambox, and also by ambox when small=yes. if self.isSmall then self.text = args.smalltext or args.text else self.text = args.text end -- Set the below row. self.below = cfg.below and args.below -- General image settings. self.imageCellDiv = not self.isSmall and cfg.imageCellDiv self.imageEmptyCell = cfg.imageEmptyCell -- Left image settings. local imageLeft = self.isSmall and args.smallimage or args.image if cfg.imageCheckBlank and imageLeft ~= 'blank' and imageLeft ~= 'none' or not cfg.imageCheckBlank and imageLeft ~= 'none' then self.imageLeft = imageLeft if not imageLeft then local imageSize = self.isSmall and (cfg.imageSmallSize or '30x30px') or '40x40px' self.imageLeft = string.format('[[File:%s|%s|link=|alt=]]', self.typeImage or 'Imbox notice.png', imageSize) end end -- Right image settings. local imageRight = self.isSmall and args.smallimageright or args.imageright if not (cfg.imageRightNone and imageRight == 'none') then self.imageRight = imageRight end -- set templatestyles self.base_templatestyles = cfg.templatestyles self.templatestyles = args.templatestyles end function MessageBox:setMainspaceCategories() local args = self.args local cfg = self.cfg if not cfg.allowMainspaceCategories then return nil end local nums = {} for _, prefix in ipairs{'cat', 'category', 'all'} do args[prefix .. '1'] = args[prefix] nums = union(nums, getArgNums(args, prefix)) end -- The following is roughly equivalent to the old {{Ambox/category}}. local date = args.date date = type(date) == 'string' and date local preposition = 'from' for _, num in ipairs(nums) do local mainCat = args['cat' .. tostring(num)] or args['category' .. tostring(num)] local allCat = args['all' .. tostring(num)] mainCat = type(mainCat) == 'string' and mainCat allCat = type(allCat) == 'string' and allCat if mainCat and date and date ~= '' then local catTitle = string.format('%s %s %s', mainCat, preposition, date) self:addCat(0, catTitle) catTitle = getTitleObject('Category:' .. catTitle) if not catTitle or not catTitle.exists then self:addCat(0, 'Articles with invalid date parameter in template') end elseif mainCat and (not date or date == '') then self:addCat(0, mainCat) end if allCat then self:addCat(0, allCat) end end end function MessageBox:setTemplateCategories() local args = self.args local cfg = self.cfg -- Add template categories. if cfg.templateCategory then if cfg.templateCategoryRequireName then if self.isTemplatePage then self:addCat(10, cfg.templateCategory) end elseif not self.title.isSubpage then self:addCat(10, cfg.templateCategory) end end -- Add template error categories. if cfg.templateErrorCategory then local templateErrorCategory = cfg.templateErrorCategory local templateCat, templateSort if not self.name and not self.title.isSubpage then templateCat = templateErrorCategory elseif self.isTemplatePage then local paramsToCheck = cfg.templateErrorParamsToCheck or {} local count = 0 for i, param in ipairs(paramsToCheck) do if not args[param] then count = count + 1 end end if count > 0 then templateCat = templateErrorCategory templateSort = tostring(count) end if self.categoryNums and #self.categoryNums > 0 then templateCat = templateErrorCategory templateSort = 'C' end end self:addCat(10, templateCat, templateSort) end end function MessageBox:setAllNamespaceCategories() -- Set categories for all namespaces. if self.invalidTypeError then local allSort = (self.title.namespace == 0 and 'Main:' or '') .. self.title.prefixedText self:addCat('all', 'Wikipedia message box parameter needs fixing', allSort) end if self.isSubstituted then self:addCat('all', 'Pages with incorrectly substituted templates') end end function MessageBox:setCategories() if self.title.namespace == 0 then self:setMainspaceCategories() elseif self.title.namespace == 10 then self:setTemplateCategories() end self:setAllNamespaceCategories() end function MessageBox:renderCategories() if not self.hasCategories then -- No categories added, no need to pass them to Category handler so, -- if it was invoked, it would return the empty string. -- So we shortcut and return the empty string. return "" end -- Convert category tables to strings and pass them through -- [[Module:Category handler]]. return require('Module:Category handler')._main{ main = table.concat(self.categories[0] or {}), template = table.concat(self.categories[10] or {}), all = table.concat(self.categories.all or {}), nocat = self.args.nocat, page = self.args.page } end function MessageBox:export() local root = mw.html.create() -- Add the subst check error. if self.isSubstituted and self.name then root:tag('b') :addClass('error') :wikitext(string.format( 'Template <code>%s[[Template:%s|%s]]%s</code> has been incorrectly substituted.', mw.text.nowiki('{{'), self.name, self.name, mw.text.nowiki('}}') )) end local frame = mw.getCurrentFrame() root:wikitext(frame:extensionTag{ name = 'templatestyles', args = { src = self.base_templatestyles }, }) -- Add support for a single custom templatestyles sheet. Undocumented as -- need should be limited and many templates using mbox are substed; we -- don't want to spread templatestyles sheets around to arbitrary places if self.templatestyles then root:wikitext(frame:extensionTag{ name = 'templatestyles', args = { src = self.templatestyles }, }) end -- Create the box table. local boxTable = root:tag('table') boxTable:attr('id', self.id or nil) for i, class in ipairs(self.classes or {}) do boxTable:addClass(class or nil) end boxTable :cssText(self.style or nil) :attr('role', 'presentation') if self.attrs then boxTable:attr(self.attrs) end -- Add the left-hand image. local row = boxTable:tag('tr') if self.imageLeft then local imageLeftCell = row:tag('td'):addClass('mbox-image') if self.imageCellDiv then -- If we are using a div, redefine imageLeftCell so that the image -- is inside it. Divs use style="width: 52px;", which limits the -- image width to 52px. If any images in a div are wider than that, -- they may overlap with the text or cause other display problems. imageLeftCell = imageLeftCell:tag('div'):addClass('mbox-image-div') end imageLeftCell:wikitext(self.imageLeft or nil) elseif self.imageEmptyCell then -- Some message boxes define an empty cell if no image is specified, and -- some don't. The old template code in templates where empty cells are -- specified gives the following hint: "No image. Cell with some width -- or padding necessary for text cell to have 100% width." row:tag('td') :addClass('mbox-empty-cell') end -- Add the text. local textCell = row:tag('td'):addClass('mbox-text') if self.useCollapsibleTextFields then -- The message box uses advanced text parameters that allow things to be -- collapsible. At the moment, only ambox uses this. textCell:cssText(self.textstyle or nil) local textCellDiv = textCell:tag('div') textCellDiv :addClass('mbox-text-span') :wikitext(self.issue or nil) if (self.talk or self.fix) then textCellDiv:tag('span') :addClass('hide-when-compact') :wikitext(self.talk and (' ' .. self.talk) or nil) :wikitext(self.fix and (' ' .. self.fix) or nil) end textCellDiv:wikitext(self.date and (' ' .. self.date) or nil) if self.info and not self.isSmall then textCellDiv :tag('span') :addClass('hide-when-compact') :wikitext(self.info and (' ' .. self.info) or nil) end if self.removalNotice then textCellDiv:tag('span') :addClass('hide-when-compact') :tag('i') :wikitext(string.format(" (%s)", self.removalNotice)) end else -- Default text formatting - anything goes. textCell :cssText(self.textstyle or nil) :wikitext(self.text or nil) end -- Add the right-hand image. if self.imageRight then local imageRightCell = row:tag('td'):addClass('mbox-imageright') if self.imageCellDiv then -- If we are using a div, redefine imageRightCell so that the image -- is inside it. imageRightCell = imageRightCell:tag('div'):addClass('mbox-image-div') end imageRightCell :wikitext(self.imageRight or nil) end -- Add the below row. if self.below then boxTable:tag('tr') :tag('td') :attr('colspan', self.imageRight and '3' or '2') :addClass('mbox-text') :cssText(self.textstyle or nil) :wikitext(self.below or nil) end -- Add error message for invalid type parameters. if self.invalidTypeError then root:tag('div') :addClass('mbox-invalid-type') :wikitext(string.format( 'This message box is using an invalid "type=%s" parameter and needs fixing.', self.type or '' )) end -- Add categories. root:wikitext(self:renderCategories() or nil) return tostring(root) end -------------------------------------------------------------------------------- -- Exports -------------------------------------------------------------------------------- local p, mt = {}, {} function p._exportClasses() -- For testing. return { MessageBox = MessageBox } end function p.main(boxType, args, cfgTables) local box = MessageBox.new(boxType, args, cfgTables or mw.loadData(CONFIG_MODULE)) box:setParameters() box:setCategories() return box:export() end function mt.__index(t, k) return function (frame) if not getArgs then getArgs = require('Module:Arguments').getArgs end return t.main(k, getArgs(frame, {trim = false, removeBlanks = false})) end end return setmetatable(p, mt) bdb0ecc9f26f26b9c0ce12a066a183ac9d4f0705 0 2 375 348 2022-10-24T14:41:02Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 47513f6a5b9098a52008ce37ccd9be4d7d86fa6e 376 375 2022-10-24T14:47:02Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Original Pages == [[Asexual Queerness]] https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness == Notes == == References == <references/> cec38646d90626042d010a9f48ea3c94faeecd85 377 376 2022-10-24T14:48:46Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Original Pages == [[Asexual Queerness]] [https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness web archive] == Notes == == References == <references/> 8191bfecb50b0c8e30308b863424d8fc43a97bc5 378 377 2022-10-24T14:49:15Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Original Pages == [[Asexual Queerness]] [https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness (web archive)] == Notes == == References == <references/> 2b81fd37327e67c9fa2c66074ad9baa83f81c856 379 378 2022-10-24T14:57:21Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Original Pages == [[Asexual Queerness]] [https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness (web archive)] [[Centaurworld]] [https://web.archive.org/web/20221024145008/https://qwiki.miraheze.org/wiki/Centaurworld (web archive)] [[Compulsory heterosexuality]] [https://web.archive.org/web/20221024145342/https://qwiki.miraheze.org/wiki/Compulsory_heterosexuality (web archive)] [[Masters and Johnson's Sex Therapy but Make it Queer]] [https://web.archive.org/web/20221024145608/https://qwiki.miraheze.org/wiki/Masters_and_Johnson%27s_Sex_Therapy_but_Make_it_Queer (web archive)] == Notes == == References == <references/> a42dcaf37b463bac9b844c34d2daac1af98f3c66 380 379 2022-10-24T15:07:22Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Original Pages == [[Asexual Queerness]] [https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness (web archive)] [[Centaurworld]] [https://web.archive.org/web/20221024145008/https://qwiki.miraheze.org/wiki/Centaurworld (web archive)] [[Compulsory heterosexuality]] [https://web.archive.org/web/20221024145342/https://qwiki.miraheze.org/wiki/Compulsory_heterosexuality (web archive)] [[FannyAnn Eddy]] [https://web.archive.org/web/20221024150631/https://qwiki.miraheze.org/wiki/FannyAnn%20Eddy (web archive)] [[Masters and Johnson's Sex Therapy but Make it Queer]] [https://web.archive.org/web/20221024145608/https://qwiki.miraheze.org/wiki/Masters_and_Johnson%27s_Sex_Therapy_but_Make_it_Queer (web archive)] [[New Queer Intimism]] [https://web.archive.org/web/20221024150103/https://qwiki.miraheze.org/wiki/New_Queer_Intimism (web archive)] [[Queer Activism Through Judicial Decisions]] [https://web.archive.org/web/20221024150454/https://qwiki.miraheze.org/wiki/Queer_Activism_Through_Judicial_Decisions (web archive)] == Notes == == References == <references/> ddddc678e7710847bcfbe540b74406017086f7f7 381 380 2022-10-24T15:09:44Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Original Pages == [[Asexual Queerness]] [https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness (web archive)] [[Centaurworld]] [https://web.archive.org/web/20221024145008/https://qwiki.miraheze.org/wiki/Centaurworld (web archive)] [[Compulsory heterosexuality]] [https://web.archive.org/web/20221024145342/https://qwiki.miraheze.org/wiki/Compulsory_heterosexuality (web archive)] [[FannyAnn Eddy]] [https://web.archive.org/web/20221024150631/https://qwiki.miraheze.org/wiki/FannyAnn_Eddy (web archive)] [[Masters and Johnson's Sex Therapy but Make it Queer]] [https://web.archive.org/web/20221024145608/https://qwiki.miraheze.org/wiki/Masters_and_Johnson%27s_Sex_Therapy_but_Make_it_Queer (web archive)] [[New Queer Intimism]] [https://web.archive.org/web/20221024150103/https://qwiki.miraheze.org/wiki/New_Queer_Intimism (web archive)] [[Queer Activism Through Judicial Decisions]] [https://web.archive.org/web/20221024150454/https://qwiki.miraheze.org/wiki/Queer_Activism_Through_Judicial_Decisions (web archive)] == Notes == == References == <references/> 8911de24fa45866a96b2f18606f6dbb8460c6561 382 381 2022-10-24T15:13:27Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Original Pages == [[Asexual Queerness]] [https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness (web archive)] [[Centaurworld]] [https://web.archive.org/web/20221024145008/https://qwiki.miraheze.org/wiki/Centaurworld (web archive)] [[Compulsory heterosexuality]] [https://web.archive.org/web/20221024145342/https://qwiki.miraheze.org/wiki/Compulsory_heterosexuality (web archive)] [[FannyAnn Eddy]] [https://web.archive.org/web/20221024150631/https://qwiki.miraheze.org/wiki/FannyAnn_Eddy (web archive)] [[Masters and Johnson's Sex Therapy but Make it Queer]] [https://web.archive.org/web/20221024145608/https://qwiki.miraheze.org/wiki/Masters_and_Johnson%27s_Sex_Therapy_but_Make_it_Queer (web archive)] [[New Queer Intimism]] [https://web.archive.org/web/20221024150103/https://qwiki.miraheze.org/wiki/New_Queer_Intimism (web archive)] [[Queer Activism Through Judicial Decisions]] [https://web.archive.org/web/20221024150454/https://qwiki.miraheze.org/wiki/Queer_Activism_Through_Judicial_Decisions (web archive)] [[Shifting Fashion Industry Ideals: Queer Fashion]] [https://web.archive.org/web/20221024151225/https://qwiki.miraheze.org/wiki/Shifting_Fashion_Industry_Ideals:_Queer_Fashion (web archive)] == Notes == == References == <references/> 1afa625035c0e3a42a480c75d0491bf4f97f720b 0 55 383 2022-10-24T15:24:07Z Matrim112830 2 Created page with "https://shopqueer.co/ "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."" wikitext text/x-wiki https://shopqueer.co/ "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign." 148a142534d4676ea054df7897cefde9f8d18b05 384 383 2022-10-24T15:25:26Z Matrim112830 2 wikitext text/x-wiki https://shopqueer.co/ "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign." == Notes == == Notes == == Notes == == References == <references/> 67f861283dba7f13d750ea83cc90a78a67f6a63b 385 384 2022-10-24T15:27:19Z Matrim112830 2 wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Activism == https://shopqueer.co/ "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> == Notes == == Notes == == References == <references/> adba2eb3f31ad96162c6dd2af8dc3a6bd4d35e96 386 385 2022-10-24T15:30:21Z Matrim112830 2 wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Activism == === Shop Queer === "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> == Art == https://www.instagram.com/everylesbianandtheirfashion/?hl=en == Notes == == References == <references/> 85c0eb1f44501d70853b1d82bf43512e46e02427 387 386 2022-10-24T15:31:29Z Matrim112830 2 /* Activism */ wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Activism == === Shop Queer === "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> == Art == https://www.instagram.com/everylesbianandtheirfashion/?hl=en == Notes == == References == <references/> 9fca21c1f743156e25ae06c1283bc1bd1012d900 388 387 2022-10-24T15:32:58Z Matrim112830 2 wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Activism == === Shop Queer === "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ == Art == ===Every Lesbian and Their Fashion Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ == Notes == == References == <references/> fd855eb47202713fb2c476dcd768b129f0ca3b0a 389 388 2022-10-24T15:33:25Z Matrim112830 2 /* Art */ wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Activism == === Shop Queer === "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ == Art == ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ == Notes == == References == <references/> 3fb8f752b9a7dfbc6d7f6e2e2b95887294cbe695 390 389 2022-10-24T15:46:01Z Matrim112830 2 wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Activism == === Shop Queer === "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ == Art == ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D https://www.youtube.com/watch?v=S-jhXnqO6mc == References == <references/> 443054bcf37057720307fecf546c05025bae1ae1 391 390 2022-10-24T15:46:47Z Matrim112830 2 wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Activism == === Shop Queer === "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ == Art == ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D Podcast But Outside https://www.youtube.com/watch?v=S-jhXnqO6mc == References == <references/> 79b6c3bb3ea1f15438587c7990bc0665f8325aa2 392 391 2022-10-24T15:47:16Z Matrim112830 2 wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Activism == === Shop Queer === "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ == Art == ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> Podcast But Outside<br> https://www.youtube.com/watch?v=S-jhXnqO6mc == References == <references/> 8ae1a832d9ddb43ca46696ac09389dcf42d106bd 393 392 2022-10-24T15:47:41Z Matrim112830 2 wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Activism == === Shop Queer === "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ == Art == ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== Podcast But Outside<br> https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> https://www.youtube.com/watch?v=S-jhXnqO6mc == References == <references/> aee1bd8a0aa1dde4a317a17bac952f340c6d126e 394 393 2022-10-24T15:52:40Z Matrim112830 2 wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Activism == === Shop Queer === "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ == Art == ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ ===The Cyborg Jillian Weise=== http://jillianweise.com/ https://www.instagram.com/p/Ci3Yguwr7lm/?igshid=NjZiMGI4OTY= == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== Podcast But Outside<br> https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> https://www.youtube.com/watch?v=S-jhXnqO6mc == References == <references/> 311a19fd32f495f38a996b8da80da7b3e4fb6b6f 395 394 2022-10-24T15:53:13Z Matrim112830 2 /* The Cyborg Jillian Weise */ wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Activism == === Shop Queer === "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ == Art == ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ ===The Cyborg Jillian Weise=== http://jillianweise.com/<ref>http://jillianweise.com/</ref><br> https://www.instagram.com/p/Ci3Yguwr7lm/?igshid=NjZiMGI4OTY= == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== Podcast But Outside<br> https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> https://www.youtube.com/watch?v=S-jhXnqO6mc == References == <references/> ac88935e5d6d9d92b9a82e382c2a568d836696ec 396 395 2022-10-24T16:04:22Z Matrim112830 2 wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Archivists== ===Invisible Histories Project=== ===[[The Dallas Way]]=== == Activism == === Shop Queer === "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ == Art == ===Third Space DFW=== <blockquote> Mission Statement Creating safe spaces for the LGBTQIA+ community. Providing platforms for our voices to be heard. Colliding community with resources. Giving rise to queer ideas, art, and individuals. We will not hide, shy away, or be ashamed. We are something new and unrecognizable a newly defined era of meaning and representation.<ref>https://thirdspacedfw.org/</ref></blockquote> https://thirdspacedfw.org/<br> https://www.instagram.com/thirdspacedfw/ ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ ===The Cyborg Jillian Weise=== http://jillianweise.com/<ref>http://jillianweise.com/</ref><br> https://www.instagram.com/p/Ci3Yguwr7lm/?igshid=NjZiMGI4OTY= == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== Podcast But Outside<br> https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> https://www.youtube.com/watch?v=S-jhXnqO6mc == References == <references/> 92f0830380bd2009eff42c99aba11e97ae1398dc 397 396 2022-10-24T16:06:17Z Matrim112830 2 /* Invisible Histories Project */ wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Archivists== ===Invisible Histories Project=== https://invisiblehistory.org/ <blockquote>The Invisible Histories Project locates, preserves, researches, and creates for local communities an accessible collection of the rich and diverse history of LGBTQ life in the US South. Currently, IHP collects in Alabama, Mississippi and Georgia. IHP acts as an intermediary between the Queer community and various institutions like universities, museums, archives, and libraries in order to preserve Southern LGBTQ histories.<ref>https://invisiblehistory.org/</ref></blockquote> ===[[The Dallas Way]]=== == Activism == === Shop Queer === "an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ == Art == ===Third Space DFW=== <blockquote> Mission Statement Creating safe spaces for the LGBTQIA+ community. Providing platforms for our voices to be heard. Colliding community with resources. Giving rise to queer ideas, art, and individuals. We will not hide, shy away, or be ashamed. We are something new and unrecognizable a newly defined era of meaning and representation.<ref>https://thirdspacedfw.org/</ref></blockquote> https://thirdspacedfw.org/<br> https://www.instagram.com/thirdspacedfw/ ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ ===The Cyborg Jillian Weise=== http://jillianweise.com/<ref>http://jillianweise.com/</ref><br> https://www.instagram.com/p/Ci3Yguwr7lm/?igshid=NjZiMGI4OTY= == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== Podcast But Outside<br> https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> https://www.youtube.com/watch?v=S-jhXnqO6mc == References == <references/> ecfabf5cb4b966a6a8c786ae518569a5796a5aae 398 397 2022-10-24T16:06:59Z Matrim112830 2 /* Shop Queer */ wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Archivists== ===Invisible Histories Project=== https://invisiblehistory.org/ <blockquote>The Invisible Histories Project locates, preserves, researches, and creates for local communities an accessible collection of the rich and diverse history of LGBTQ life in the US South. Currently, IHP collects in Alabama, Mississippi and Georgia. IHP acts as an intermediary between the Queer community and various institutions like universities, museums, archives, and libraries in order to preserve Southern LGBTQ histories.<ref>https://invisiblehistory.org/</ref></blockquote> ===[[The Dallas Way]]=== == Activism == === Shop Queer === <blockquote> an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ </blockquote> == Art == ===Third Space DFW=== <blockquote> Mission Statement Creating safe spaces for the LGBTQIA+ community. Providing platforms for our voices to be heard. Colliding community with resources. Giving rise to queer ideas, art, and individuals. We will not hide, shy away, or be ashamed. We are something new and unrecognizable a newly defined era of meaning and representation.<ref>https://thirdspacedfw.org/</ref></blockquote> https://thirdspacedfw.org/<br> https://www.instagram.com/thirdspacedfw/ ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ ===The Cyborg Jillian Weise=== http://jillianweise.com/<ref>http://jillianweise.com/</ref><br> https://www.instagram.com/p/Ci3Yguwr7lm/?igshid=NjZiMGI4OTY= == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== Podcast But Outside<br> https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> https://www.youtube.com/watch?v=S-jhXnqO6mc == References == <references/> 36e3d2cc0af5f00d5d61e60c2de0318f4f91288d 399 398 2022-10-24T16:09:31Z Matrim112830 2 wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Archivists== ===Invisible Histories Project=== https://invisiblehistory.org/ <blockquote>The Invisible Histories Project locates, preserves, researches, and creates for local communities an accessible collection of the rich and diverse history of LGBTQ life in the US South. Currently, IHP collects in Alabama, Mississippi and Georgia. IHP acts as an intermediary between the Queer community and various institutions like universities, museums, archives, and libraries in order to preserve Southern LGBTQ histories.<ref>https://invisiblehistory.org/</ref></blockquote> ===[[The Dallas Way]]=== == Activists == === Shop Queer === <blockquote> an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ </blockquote> == Artists == ===Third Space DFW=== <blockquote> Mission Statement Creating safe spaces for the LGBTQIA+ community. Providing platforms for our voices to be heard. Colliding community with resources. Giving rise to queer ideas, art, and individuals. We will not hide, shy away, or be ashamed. We are something new and unrecognizable a newly defined era of meaning and representation.<ref>https://thirdspacedfw.org/</ref></blockquote> https://thirdspacedfw.org/<br> https://www.instagram.com/thirdspacedfw/ ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ ===The Cyborg Jillian Weise=== http://jillianweise.com/<ref>http://jillianweise.com/</ref><br> https://www.instagram.com/p/Ci3Yguwr7lm/?igshid=NjZiMGI4OTY= == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== Podcast But Outside<br> https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> https://www.youtube.com/watch?v=S-jhXnqO6mc ===Hans Christian Anderson=== https://www.instagram.com/p/CidCv4kOp7o/?igshid=NjZiMGI4OTY= == References == <references/> 7bf03267a8970a0bfde610f761c2ec2976e1d86f 400 399 2022-10-24T16:17:19Z Matrim112830 2 /* Archivists */ wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Archivists== ===Invisible Histories Project=== https://invisiblehistory.org/ <blockquote>The Invisible Histories Project locates, preserves, researches, and creates for local communities an accessible collection of the rich and diverse history of LGBTQ life in the US South. Currently, IHP collects in Alabama, Mississippi and Georgia. IHP acts as an intermediary between the Queer community and various institutions like universities, museums, archives, and libraries in order to preserve Southern LGBTQ histories.<ref>https://invisiblehistory.org/</ref></blockquote> ===[[The Dallas Way]]=== ===YesterQueer DFW=== https://www.facebook.com/todd.camp/about ===Weber Queer Archives=== https://www.weberqueerarchives.org/ == Activists == === Shop Queer === <blockquote> an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ </blockquote> == Artists == ===Third Space DFW=== <blockquote> Mission Statement Creating safe spaces for the LGBTQIA+ community. Providing platforms for our voices to be heard. Colliding community with resources. Giving rise to queer ideas, art, and individuals. We will not hide, shy away, or be ashamed. We are something new and unrecognizable a newly defined era of meaning and representation.<ref>https://thirdspacedfw.org/</ref></blockquote> https://thirdspacedfw.org/<br> https://www.instagram.com/thirdspacedfw/ ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ ===The Cyborg Jillian Weise=== http://jillianweise.com/<ref>http://jillianweise.com/</ref><br> https://www.instagram.com/p/Ci3Yguwr7lm/?igshid=NjZiMGI4OTY= == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== Podcast But Outside<br> https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> https://www.youtube.com/watch?v=S-jhXnqO6mc ===Hans Christian Anderson=== https://www.instagram.com/p/CidCv4kOp7o/?igshid=NjZiMGI4OTY= == References == <references/> d2499efe6fe604356215e25c9c595e4c260f760f 401 400 2022-10-24T16:19:35Z Matrim112830 2 /* YesterQueer DFW */ wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Archivists== ===Invisible Histories Project=== https://invisiblehistory.org/ <blockquote>The Invisible Histories Project locates, preserves, researches, and creates for local communities an accessible collection of the rich and diverse history of LGBTQ life in the US South. Currently, IHP collects in Alabama, Mississippi and Georgia. IHP acts as an intermediary between the Queer community and various institutions like universities, museums, archives, and libraries in order to preserve Southern LGBTQ histories.<ref>https://invisiblehistory.org/</ref></blockquote> ===[[The Dallas Way]]=== ===YesterQueer DFW=== https://www.facebook.com/todd.camp/about ===Queers 4 Climate Justice=== https://www.instagram.com/queers4climatejustice ===Weber Queer Archives=== https://www.weberqueerarchives.org/ == Activists == === Shop Queer === <blockquote> an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ </blockquote> == Artists == ===Third Space DFW=== <blockquote> Mission Statement Creating safe spaces for the LGBTQIA+ community. Providing platforms for our voices to be heard. Colliding community with resources. Giving rise to queer ideas, art, and individuals. We will not hide, shy away, or be ashamed. We are something new and unrecognizable a newly defined era of meaning and representation.<ref>https://thirdspacedfw.org/</ref></blockquote> https://thirdspacedfw.org/<br> https://www.instagram.com/thirdspacedfw/ ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ ===The Cyborg Jillian Weise=== http://jillianweise.com/<ref>http://jillianweise.com/</ref><br> https://www.instagram.com/p/Ci3Yguwr7lm/?igshid=NjZiMGI4OTY= == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== Podcast But Outside<br> https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> https://www.youtube.com/watch?v=S-jhXnqO6mc ===Hans Christian Anderson=== https://www.instagram.com/p/CidCv4kOp7o/?igshid=NjZiMGI4OTY= == References == <references/> ec291f67188ba9f23bf85b5994b0f894005b2ae9 402 401 2022-10-24T16:22:47Z Matrim112830 2 /* Artists */ wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Archivists== ===Invisible Histories Project=== https://invisiblehistory.org/ <blockquote>The Invisible Histories Project locates, preserves, researches, and creates for local communities an accessible collection of the rich and diverse history of LGBTQ life in the US South. Currently, IHP collects in Alabama, Mississippi and Georgia. IHP acts as an intermediary between the Queer community and various institutions like universities, museums, archives, and libraries in order to preserve Southern LGBTQ histories.<ref>https://invisiblehistory.org/</ref></blockquote> ===[[The Dallas Way]]=== ===YesterQueer DFW=== https://www.facebook.com/todd.camp/about ===Queers 4 Climate Justice=== https://www.instagram.com/queers4climatejustice ===Weber Queer Archives=== https://www.weberqueerarchives.org/ == Activists == === Shop Queer === <blockquote> an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ </blockquote> == Artists == ===Third Space DFW=== <blockquote> Mission Statement Creating safe spaces for the LGBTQIA+ community. Providing platforms for our voices to be heard. Colliding community with resources. Giving rise to queer ideas, art, and individuals. We will not hide, shy away, or be ashamed. We are something new and unrecognizable a newly defined era of meaning and representation.<ref>https://thirdspacedfw.org/</ref></blockquote> https://thirdspacedfw.org/<br> https://www.instagram.com/thirdspacedfw/ ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ ===Bad Queers Podcast=== https://badqueerspod.buzzsprout.com/ ===The Cyborg Jillian Weise=== http://jillianweise.com/<ref>http://jillianweise.com/</ref><br> https://www.instagram.com/p/Ci3Yguwr7lm/?igshid=NjZiMGI4OTY= == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== Podcast But Outside<br> https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> https://www.youtube.com/watch?v=S-jhXnqO6mc ===Hans Christian Anderson=== https://www.instagram.com/p/CidCv4kOp7o/?igshid=NjZiMGI4OTY= == References == <references/> 68f2613dab63503f12d5d12da9e52276340ff116 403 402 2022-10-24T16:26:16Z Matrim112830 2 wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Archivists== ===Invisible Histories Project=== https://invisiblehistory.org/ <blockquote>The Invisible Histories Project locates, preserves, researches, and creates for local communities an accessible collection of the rich and diverse history of LGBTQ life in the US South. Currently, IHP collects in Alabama, Mississippi and Georgia. IHP acts as an intermediary between the Queer community and various institutions like universities, museums, archives, and libraries in order to preserve Southern LGBTQ histories.<ref>https://invisiblehistory.org/</ref></blockquote> ===[[The Dallas Way]]=== ===YesterQueer DFW=== https://www.facebook.com/todd.camp/about ===Weber Queer Archives=== https://www.weberqueerarchives.org/ == Activists == === Shop Queer === <blockquote> an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ </blockquote> ===Queers 4 Climate Justice=== https://www.instagram.com/queers4climatejustice == Artists == ===Third Space DFW=== <blockquote> Mission Statement Creating safe spaces for the LGBTQIA+ community. Providing platforms for our voices to be heard. Colliding community with resources. Giving rise to queer ideas, art, and individuals. We will not hide, shy away, or be ashamed. We are something new and unrecognizable a newly defined era of meaning and representation.<ref>https://thirdspacedfw.org/</ref></blockquote> https://thirdspacedfw.org/<br> https://www.instagram.com/thirdspacedfw/ ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ ===The Pansy Project=== https://thepansyproject.com/ ===Bad Queers Podcast=== https://badqueerspod.buzzsprout.com/ ===The Cyborg Jillian Weise=== http://jillianweise.com/<ref>http://jillianweise.com/</ref><br> https://www.instagram.com/p/Ci3Yguwr7lm/?igshid=NjZiMGI4OTY= == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== Podcast But Outside<br> https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> https://www.youtube.com/watch?v=S-jhXnqO6mc ===Hans Christian Anderson=== https://www.instagram.com/p/CidCv4kOp7o/?igshid=NjZiMGI4OTY= == References == <references/> 8e9e6f52b0820aa24c23ac627867e60b1aa252e8 0 52 407 406 2022-10-24T18:15:56Z Catherinecunningham 8 wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character, Cynthia Rose. We will discuss her and the stereotypes surrounding her character, and we will also discuss the queer coding of the main character Becca, and the Bellas rival group, an all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes'' that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == For Furthering Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]], Queer Coding in Lemonade Mouth, Queer Coding in Descendents == References == 2b5d66bc3162985bb4f78995be551aad855285af 408 407 2022-10-24T18:17:16Z Catherinecunningham 8 wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character, Cynthia Rose. We will discuss her and the stereotypes surrounding her character, and we will also discuss the queer coding(wiki link to queer coding) of the main character Becca, and the Bellas rival group, an all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes'' that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == For Furthering Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]], Queer Coding in Lemonade Mouth, Queer Coding in Descendents == References == b20fde3a5b5c31f457dde3825b2e7a0b5ca28973 409 408 2022-10-24T21:20:56Z Catherinecunningham 8 /* For Furthering Reading */ wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character, Cynthia Rose. We will discuss her and the stereotypes surrounding her character, and we will also discuss the queer coding(wiki link to queer coding) of the main character Becca, and the Bellas rival group, an all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes'' that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]], Queer Coding in Lemonade Mouth, Queer Coding in Descendents == References == 3bf02661006f091e77a299b3503dde4e1e069c37 419 409 2022-10-24T21:24:26Z Catherinecunningham 8 wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character, Cynthia Rose. We will discuss her and the stereotypes surrounding her character, and we will also discuss the [[Queer Coding|queer coding]] of the main character Becca, and the Bellas rival group, an all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes'' that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Descendants|Queer Coding in Descendents]] == References == fed4cdcec3ce07c2ea48121f69d0d207db5cb19a 445 419 2022-10-24T21:55:23Z Matrim112830 2 /* Intersectionality of Fatness, Race, and Gender Presentation */ wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas''. The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character, Cynthia Rose. We will discuss her and the stereotypes surrounding her character, and we will also discuss the [[Queer Coding|queer coding]] of the main character Becca, and the Bellas rival group, an all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes" that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Descendants|Queer Coding in Descendents]] == References == 2afb4fadf60e71e4cfced27147253f9760936fe5 447 445 2022-10-24T21:56:14Z Matrim112830 2 wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas." The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character, Cynthia Rose. We will discuss her and the stereotypes surrounding her character, and we will also discuss the [[Queer Coding|queer coding]] of the main character Becca, and the Bellas rival group, an all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe'' and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes" that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Descendants|Queer Coding in Descendents]] == References == ff3c0f65d1c744ccff35554bcad5d397d7972bc9 0 56 410 2022-10-24T21:21:23Z Groomesdeja 19 Created page with "test" wikitext text/x-wiki test a94a8fe5ccb19ba61c4c0873d391e987982fbbd3 426 410 2022-10-24T21:30:05Z Groomesdeja 19 wikitext text/x-wiki = Definitions of Queer Coding = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University "Dialogue" Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I am arguing in favor of the former in relation to the ''High School Musical'' film franchise. = Examples of Queer Coding in Media = [[Queer Coding in Descendants]] [[Queer Coding in Pitch Perfect]] [[Queer coding in Lemonade mouth]] = References = b7e56135c4709125f974017dca306297782b1970 427 426 2022-10-24T21:30:58Z Groomesdeja 19 /* Examples of Queer Coding in Media */ wikitext text/x-wiki = Definitions of Queer Coding = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University "Dialogue" Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. I am arguing in favor of the former in relation to the ''High School Musical'' film franchise. = Examples of Queer Coding in Media = [[Queer Coding in Descendants]] <br> [[Queer Coding in Pitch Perfect]] <br> [[Queer coding in Lemonade mouth]] <br> = References = c707feeb0960fca8e7b968e3572dd6c9015f574e 0 57 411 2022-10-24T21:22:31Z Brwilson1 12 Created page with "Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot:== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the b..." wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot:== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends. ==Queer Coding of Stella:== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life. ==Queering Songs:== ===== Somebody: ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone: ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found. ===== Stand Up: ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. ===== Impact in Media: ===== Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References: == https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/ https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/ https://disney.fandom.com/wiki/Lemonade_Mouth ==For Further Reading:== [[Queer Coding in Pitch Perfect]] 40b77ae06c91ee981d2d81cf7395e8a448a5fa7f 414 411 2022-10-24T21:23:26Z Brwilson1 12 wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot:== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends. ==Queer Coding of Stella:== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life. ==Queering Songs:== ===== Somebody: ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone: ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found. ===== Stand Up: ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. ===== Impact in Media: ===== Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References: == https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/ https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/ https://disney.fandom.com/wiki/Lemonade_Mouth ==For Further Reading:== [[Queer Coding in Pitch Perfect]] [[Queer Coding]] 6335978de6c097943b71974a0bc1a77954c017a6 421 414 2022-10-24T21:24:37Z Brwilson1 12 wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot:== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends. ==Queer Coding of Stella:== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life. ==Queering Songs:== ===== Somebody: ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone: ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found. ===== Stand Up: ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media: === Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References: == https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/ https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/ https://disney.fandom.com/wiki/Lemonade_Mouth ==For Further Reading:== [[Queer Coding in Pitch Perfect]] [[Queer Coding]] d7ebf37838d11d80f57ba6a3b301ce22ed291549 423 421 2022-10-24T21:25:10Z Brwilson1 12 wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot:== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends. ==Queer Coding of Stella:== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life. ==Queering Songs:== ===== Somebody: ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone: ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found. ===== Stand Up: ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media: == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References: == https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/ https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/ https://disney.fandom.com/wiki/Lemonade_Mouth ==For Further Reading:== [[Queer Coding in Pitch Perfect]] [[Queer Coding]] cf94e1b2e11e4e1302783f0bbd7d0ecb2ebf34a0 432 423 2022-10-24T21:33:22Z Brwilson1 12 wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/ https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/ https://disney.fandom.com/wiki/Lemonade_Mouth ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]] 9e062028608bbcd865ef473402ea1c90f586a0c9 440 432 2022-10-24T21:53:33Z Brwilson1 12 /* Queer Coding of Stella */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/ https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/ https://disney.fandom.com/wiki/Lemonade_Mouth ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]] 1f6a077e4eaa061f8e6febcca4146cf7433bab28 0 58 412 2022-10-24T21:23:01Z 138.237.15.14 0 Created page with "==Relationships== ==Society==" wikitext text/x-wiki ==Relationships== ==Society== afd80903a44699a936d710b653d744dfc8a94f68 413 412 2022-10-24T21:23:20Z 138.237.15.14 0 /* Relationships */ wikitext text/x-wiki ==Relationships== =Mal and Evie= ==Society== b815adf863f739a3ec261d3e9dd2ab61838e38d6 415 413 2022-10-24T21:23:36Z 138.237.15.14 0 /* Mal and Evie */ wikitext text/x-wiki ==Relationships== ===Mal and Evie=== ==Society== ad59cac4479b1b2914da82c0ed873cca895fb4ce 416 415 2022-10-24T21:24:02Z 138.237.15.14 0 /* Relationships */ wikitext text/x-wiki ==Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ==Society== 6f278a171d5adf0158e146ec960fa9f433cc1416 417 416 2022-10-24T21:24:15Z 138.237.15.14 0 /* Relationships */ wikitext text/x-wiki ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ==Society== 8b01a412e4a6b7a965751f707c273ab05f861340 418 417 2022-10-24T21:24:25Z 138.237.15.14 0 /* Society */ wikitext text/x-wiki ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ==In Society== a5ce8459b5e2f24fa154e64f783b488bcc80770b 422 418 2022-10-24T21:24:49Z 138.237.15.14 0 wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ==In Society== fa3f498771dcb6b954ff29dd5ad273df6a9ccbec 429 422 2022-10-24T21:32:10Z 138.237.15.14 0 wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ===Harry and Gil=== ==In Society== 38001ebf07b157b6a40438dda999e940d6e5ffb9 430 429 2022-10-24T21:32:29Z 138.237.15.14 0 wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ===Harry and Gil=== ==In Society== ==Criticism== 61fd23971c870fda2621cb6adb4a2ed09bd6b74e 431 430 2022-10-24T21:33:22Z 138.237.15.14 0 wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ===Harry and Gil=== ==In Society== ==Criticism== ===Audience=== ==References== 539d05bb66bf23b093885c110b13551f5a1dbd4a 433 431 2022-10-24T21:33:36Z 138.237.15.14 0 wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ===Harry and Gil=== ==In Society== ==Criticism== ==References== 4c9402891e4322fb6cf79c3f613fd40074c1a333 434 433 2022-10-24T21:35:16Z 138.237.15.14 0 wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ===Harry and Gil=== ==In Society== ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ==References== 32f8a0f706972edddee3fa06a336cf0a3df5a09e 436 434 2022-10-24T21:45:46Z 138.237.15.14 0 wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ===Harry and Gil=== ==In Characters== ===Mal=== ===Audrey=== ==In Society== ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ==References== 141bb6f95c9e5977e404faac7e4bd9bc860cd50a 437 436 2022-10-24T21:46:23Z 138.237.15.14 0 wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ===Harry and Gil=== ==In Characters== ===Mal=== ===Audrey=== ==In the Society== ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ==References== 3066bd8644b6bd75fc2d6fb0f1530797ca9b1cfb 439 437 2022-10-24T21:53:12Z 138.237.15.14 0 /* Audrey */ wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ===Harry and Gil=== ==In Characters== ===Mal=== ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ==In the Society== ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ==References== 32904694ffe1275f2145f29236e1b49c58c94745 441 439 2022-10-24T21:53:46Z 138.237.15.14 0 wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ===Harry and Gil=== ==In Characters== ===Mal=== ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ==In the Society== ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ===Intersectionality=== ==References== 85b4f4d6f2b63214452b69fe04e3a945fd022cee 442 441 2022-10-24T21:53:59Z 138.237.15.14 0 /* Intersectionality */ wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ===Harry and Gil=== ==In Characters== ===Mal=== ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ==In the Society== ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ===Intersectionality=== Failures ==References== 9d0db0f0e0f87d9f44ce80e4ccaa0e9a442ed608 443 442 2022-10-24T21:54:22Z 138.237.15.14 0 /* Criticism */ wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ===Harry and Gil=== ==In Characters== ===Mal=== ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ==In the Society== ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ===Intersectionality=== Failures ===Disney=== ==References== 1a3cdfa0ee2911c670a0f04eb5e8af7fe4995c81 444 443 2022-10-24T21:55:08Z 138.237.15.14 0 /* Intersectionality */ wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ===Harry and Gil=== ==In Characters== ===Mal=== ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ==In the Society== ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) ===Disney=== ==References== 97e48cf53a549268505df258f7f712ae04702bcb 446 444 2022-10-24T21:56:09Z 138.237.15.14 0 /* Intersectionality */ wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== ===Mal and Ben=== ===Evie and Doug=== ===Harry and Gil=== ==In Characters== ===Mal=== ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ==In the Society== ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== ==References== df36a501695cf9d8653c709bcb99cdbd8b6ffb0a 448 446 2022-10-24T21:56:33Z 138.237.15.14 0 /* Mal and Evie */ wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== ===Evie and Doug=== ===Harry and Gil=== ==In Characters== ===Mal=== ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ==In the Society== ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== ==References== 67669795c297f6ac221b7dc756fa9aca2ea7b8e9 449 448 2022-10-24T21:57:06Z 138.237.15.14 0 /* Mal and Ben */ wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) ===Evie and Doug=== ===Harry and Gil=== ==In Characters== ===Mal=== ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ==In the Society== ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== ==References== 6bb7614c725cb22f6692be754d988bf4bbf591ca 450 449 2022-10-24T21:57:32Z 138.237.15.14 0 /* Evie and Doug */ wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships ===Harry and Gil=== ==In Characters== ===Mal=== ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ==In the Society== ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== ==References== 7050e67dccdcc60e2a4d88163a1614c538fedfed 451 450 2022-10-24T21:57:52Z 138.237.15.14 0 /* Harry and Gil */ wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ==In the Society== ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== ==References== a6b29efde633e57a5c362d6869754e9e07138f8f 453 451 2022-10-24T21:59:27Z 138.237.15.14 0 /* In Characters */ wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Dove C's testimony feels pressure to conform to societal expectations, "closeted" true self ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ===Harry=== Removed gay kiss/wears makeup ==In the Society== ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== ==References== 3f981bedb0cdb3246ccfce31494f619e8213d973 454 453 2022-10-24T22:00:10Z 138.237.15.14 0 /* In the Society */ wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Dove C's testimony feels pressure to conform to societal expectations, "closeted" true self ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ===Harry=== Removed gay kiss/wears makeup ==In the Society== USA, rich vs poverty activism ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== ==References== f97213a8646862834dc6c2dc98da55d5884dc5cf 455 454 2022-10-24T22:00:40Z 138.237.15.14 0 /* Disney */ wikitext text/x-wiki ==Background== ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Dove C's testimony feels pressure to conform to societal expectations, "closeted" true self ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ===Harry=== Removed gay kiss/wears makeup ==In the Society== USA, rich vs poverty activism ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 352b84f39241007f67f85397995d4a70c67793fb 456 455 2022-10-24T22:00:56Z 138.237.15.14 0 /* Background */ wikitext text/x-wiki ==Background== Insert summary here ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Dove C's testimony feels pressure to conform to societal expectations, "closeted" true self ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ===Harry=== Removed gay kiss/wears makeup ==In the Society== USA, rich vs poverty activism ==Actors/Actresses== ===Dove Cameron=== ===China Anne McClain=== ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== a48d7e1e01a5ccfe360f32eed0628b868d747868 0 59 420 2022-10-24T21:24:36Z Dkreisl 20 Created page with "== Overview == Today, a lot, if not most of us, at least in the U.S., know more about the transgender community. We can see through media and articles more of an insight into what happens during the transition process for either gender. With more knowledge on this topic, some people have become more aware of this process that is happening for many people and are able to learn and help because of it. While we’re learning more about the process and methods of transitioni..." wikitext text/x-wiki == Overview == Today, a lot, if not most of us, at least in the U.S., know more about the transgender community. We can see through media and articles more of an insight into what happens during the transition process for either gender. With more knowledge on this topic, some people have become more aware of this process that is happening for many people and are able to learn and help because of it. While we’re learning more about the process and methods of transitioning, I think it is also important to talk about detransitioning, as some transgender people choose to do this, and most of them have the option to do so. == Possible Mindsets of Detransitioning == Detransitioning is the process of reverting back to your gender given at birth, whether if that’s man or a woman. There could be many reasons for someone wanting to go through this process; change in one’s core gender identity, or uncertainty about their gender idenity, which are internal forces driving this decision to detransition, or external forces, like pressure from family and friends, employer, and even loss of health insurance or money that goes into helping provide the services they need to keep helping them transition or stayed transitioned. While all of these forces to detransition can happen it’s important for us to allow these people who want to detransition do it for themselves and not anyone else. == Recognizing the Lack of Fluidity with Transitioning == I work at a small boutique and I had a customer on the phone this year ask me about this romper we had and gave me their sizing and shared with me that they are in the middle of becoming a woman, so they’re trying to branch out in wearing women’s clothing, but it’s difficult because of their body they were given from their gender at birth. While the customer felt comfortable enough to open up with me and share all of this with me and how much they love the process they’re going through, they also brought up how their mentor for this process brought up this point: you are so far into this process that you can never be just as you were before you started transitioning, and while the customer I was speaking with said this was a milestone for them and they were excited, it was just also kind of a reality of check of where they are in this process and how much they’re changing. And this got me thinking are there a lot of people who feel this way and it scares them into wanting to stop the process or go back to their gender from birth? And does personally being afraid of change make it harder to transition, even though you feel you are a different gender than the one you were born with? == Ellie and Nele == Both Ellie and Nele transitioned from the gender female to male by the process of using testosterone and removing both of their breasts in mastectomy surgery. They were both agreeing that they were transgender men before they met each other. They didn’t want to be women and felt comfortable in themselves once transitioning, however, they both got diagnosed with vaginal atrophy, which is soreness and dryness in the vagina that can be a side effect of menopause or from taking testosterone, so Nele said: “I'm putting my body full of hormones, when my body can make those on its own" after trying an estrogen cream to help with this, so they both decided why not go natural for a bit and see how that works out (Pressly and Proctor 2020)? They continued even further with their detransitioning and even went back to identifying as she/her pronouns. They’ve enjoyed seeing their body change to a softer and more feminine look, but have realized that they won’t sound or look the same as they did before transitioning. But it wasn’t just the vaginal atrophy and the estrogen to fix that, it was them really looking inward and doing their research to find out what was best for themselves. Ellie did research on the culture war between trans activists and radical feminists, and while Ellie was researching she was questioning her identity as being transgender. She questioned if this was her way of going through life (Pressly and Proctor 2020). With this reflection they were experiencing about themselves they decided as I said before on trying to go back to natural instead of being on testosterone and see how that goes, and they just feel more themselves that way. This whole process of detransitioning for Ellie and Nele was their way of finding out who they truly are besides listening to social media, and feeling stuck besides removing their breasts and telling the most important people in their lives that they identify as a different gender than what they were born with. While it was a process for them to fully find themselves they are happier now and feel like their true selves. == References == <references/> <ref> Ellie and Nele: From she to he - and back to she again [https://www.bbc.com/news/stories-51806011]</ref>[https://www.bbc.com/news/stories-51806011 Ellie and Nele: From she to he - and back to she again] 45b089bd9ef2c1923cd69dd6993f5902362a8ed0 428 420 2022-10-24T21:31:47Z Dkreisl 20 wikitext text/x-wiki == Overview == Today, a lot, if not most of us, at least in the U.S., know more about the transgender community. We can see through media and articles more of an insight into what happens during the transition process for either gender. With more knowledge on this topic, some people have become more aware of this process that is happening for many people and are able to learn and help because of it. While we’re learning more about the process and methods of transitioning, I think it is also important to talk about detransitioning, as some transgender people choose to do this, and most of them have the option to do so. == Possible Mindsets of Detransitioning == Detransitioning is the process of reverting back to your gender given at birth, whether if that’s man or a woman. There could be many reasons for someone wanting to go through this process; change in one’s core gender identity, or uncertainty about their gender idenity, which are internal forces driving this decision to detransition, or external forces, like pressure from family and friends, employer, and even loss of health insurance or money that goes into helping provide the services they need to keep helping them transition or stayed transitioned. While all of these forces to detransition can happen it’s important for us to allow these people who want to detransition do it for themselves and not anyone else. == Recognizing the Lack of Fluidity with Transitioning == I work at a small boutique and I had a customer on the phone this year ask me about this romper we had and gave me their sizing and shared with me that they are in the middle of becoming a woman, so they’re trying to branch out in wearing women’s clothing, but it’s difficult because of their body they were given from their gender at birth. While the customer felt comfortable enough to open up with me and share all of this with me and how much they love the process they’re going through, they also brought up how their mentor for this process brought up this point: you are so far into this process that you can never be just as you were before you started transitioning, and while the customer I was speaking with said this was a milestone for them and they were excited, it was just also kind of a reality of check of where they are in this process and how much they’re changing. And this got me thinking are there a lot of people who feel this way and it scares them into wanting to stop the process or go back to their gender from birth? And does personally being afraid of change make it harder to transition, even though you feel you are a different gender than the one you were born with? == Ellie and Nele == Both Ellie and Nele transitioned from the gender female to male by the process of using testosterone and removing both of their breasts in mastectomy surgery. They were both agreeing that they were transgender men before they met each other. They didn’t want to be women and felt comfortable in themselves once transitioning, however, they both got diagnosed with vaginal atrophy, which is soreness and dryness in the vagina that can be a side effect of menopause or from taking testosterone, so Nele said: “I'm putting my body full of hormones, when my body can make those on its own" after trying an estrogen cream to help with this, so they both decided why not go natural for a bit and see how that works out (Pressly and Proctor 2020)? They continued even further with their detransitioning and even went back to identifying as she/her pronouns. They’ve enjoyed seeing their body change to a softer and more feminine look, but have realized that they won’t sound or look the same as they did before transitioning. But it wasn’t just the vaginal atrophy and the estrogen to fix that, it was them really looking inward and doing their research to find out what was best for themselves. Ellie did research on the culture war between trans activists and radical feminists, and while Ellie was researching she was questioning her identity as being transgender. She questioned if this was her way of going through life (Pressly and Proctor 2020). With this reflection they were experiencing about themselves they decided as I said before on trying to go back to natural instead of being on testosterone and see how that goes, and they just feel more themselves that way. This whole process of detransitioning for Ellie and Nele was their way of finding out who they truly are besides listening to social media, and feeling stuck besides removing their breasts and telling the most important people in their lives that they identify as a different gender than what they were born with. While it was a process for them to fully find themselves they are happier now and feel like their true selves. == References == <references/> <ref> Ellie and Nele: From she to he - and back to she again [https://www.bbc.com/news/stories-51806011]</ref>[https://www.bbc.com/news/stories-51806011 Ellie and Nele: From she to he - and back to she again] == Other Sources for Further Reading == [[Transition to Detransition:Twin Sisters]] 2dab3fdeda8c1dda7d6dfe904b2e5ac06581d736 0 19 424 98 2022-10-24T21:27:25Z Dkreisl 20 /* Creative Work */ wikitext text/x-wiki Dania is a control freak Virgo who happens to have three cats that she loves dearly. == Background == == Education == == Research == == Creative Work == [[The_Idea_of_Lack_of_Fluidity:_Detransitioning|The Idea of Lack of Fluidity: Detransitioning]] == References == <references/> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://addran.tcu.edu/english/index.php]</ref> <ref> Benson Boone [https://www.bensonboone.com]</ref> 5f950c449d51a63eeda830ddc71823d9eddfc89d 425 424 2022-10-24T21:29:01Z Dkreisl 20 /* Creative Work */ wikitext text/x-wiki Dania is a control freak Virgo who happens to have three cats that she loves dearly. == Background == == Education == == Research == == Creative Work == [[The_Idea_of_Lack_of_Fluidity:_Detransitioning|The Idea of Lack of Fluidity: Detransitioning]] [[Masters and Johnson's Sex Therapy but Make it Queer]] == References == <references/> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://addran.tcu.edu/english/index.php]</ref> <ref> Benson Boone [https://www.bensonboone.com]</ref> 0529fc8af94da57a5388b924f81daf508c9bef48 0 60 435 2022-10-24T21:45:18Z 138.237.15.8 0 Created page with "== Britney Spears == == Beyoncé == == Ariana Grande ==" wikitext text/x-wiki == Britney Spears == == Beyoncé == == Ariana Grande == 97afb3fb32abf3487b06a3d6cf06861df2b23da9 0 61 438 2022-10-24T21:48:12Z Groomesdeja 19 Created page with "= Background = = ''High School Musical (2006)'' = == Queering HSM == ''High School Musical 2'' situates itself both a traditional sequel, as well as a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused less on auditions for..." wikitext text/x-wiki = Background = = ''High School Musical (2006)'' = == Queering HSM == ''High School Musical 2'' situates itself both a traditional sequel, as well as a queer antithesis to its originator. In this second installment, the setting has shifted from East High School and moved to the country club of Lava Springs to denote the start of summer vacation. Additionally, the six main characters--Troy, Gabriella, Sharpay, Ryan, Chad, and Taylor--are now focused less on auditions for the winter musical, and more on their summer jobs as well as the country club talent show. However, within these plot changes lies a subtle shift in character interaction between characters Chad and Ryan. = ''High School Musical 2'': The Queer Antithesis (2007) = == Queer Coding Ryan Evans & Chad Danforth == [[File:Chad & Ryan.png|thumb]] In the case of ''High School Musical 2'', Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as the character of Taylor, while Ryan is seen eventually becoming closer to supporting character, Kelsi, in the final film). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to his performance in "I Don't Dance", Chad is situated almost exclusively within heteronormative standards (he is a basketball player initially investing in limiting Troy's interest in theatre as seen in the first film). == Queering ''I Don't Dance'' == A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> [https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E] Kevin P. Murphy, Jason Ruiz, and David Serlin's ''Radical History Review: Queer Futures''</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal of romance. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. = References = dc3acc7f1c116f23f0977914ac680f629ea130ac 0 38 452 346 2022-10-24T21:58:14Z 138.237.15.27 0 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|Taylor_Swift_2_(18477753053)|thumb|Taylor Swift in 2015, wearing a sequined jacket featuring the colors of the bisexual pride flag]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”) == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == [https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/] [https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei] [https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270] [https://psycnet.apa.org/record/2022-58525-001] [https://www.tandfonline.com/doi/full/10.1080/07494467.2021.1945225] [https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift] [https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703] [https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/] [https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok] [https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/] [https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok] d1b378d15e900ba728244ee7638a50e0930f6469 0 58 457 456 2022-10-24T22:02:11Z 138.237.15.14 0 /* Dove Cameron */ wikitext text/x-wiki ==Background== Insert summary here ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Dove C's testimony feels pressure to conform to societal expectations, "closeted" true self ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ===Harry=== Removed gay kiss/wears makeup ==In the Society== USA, rich vs poverty activism ==Actors/Actresses== ===Dove Cameron=== identifies as bi and queer ===China Anne McClain=== ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 44e8fc1ed3dc432cbeef034488e3d85a3f11ab1a 458 457 2022-10-24T22:03:49Z 138.237.15.14 0 /* China Anne McClain */ wikitext text/x-wiki ==Background== Insert summary here ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Dove C's testimony feels pressure to conform to societal expectations, "closeted" true self ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is ===Harry=== Removed gay kiss/wears makeup ==In the Society== USA, rich vs poverty activism ==Actors/Actresses== ===Dove Cameron=== identifies as bi and queer ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 13d8054a5ce59c396d1b39390a04b21313dda224 469 458 2022-10-24T22:13:59Z 138.237.15.14 0 /* Audrey */ wikitext text/x-wiki ==Background== Insert summary here ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Dove C's testimony feels pressure to conform to societal expectations, "closeted" true self ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. Following the beginning of Ben and Mal's relationship, she begins dating Chad in hopes of making Ben jealous. In the second movie, Audrey has dumped Chad. ===Harry=== Removed gay kiss/wears makeup ==In the Society== USA, rich vs poverty activism ==Actors/Actresses== ===Dove Cameron=== identifies as bi and queer ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 46ab73c844f0289f9c92e69ac33f52bed8470198 470 469 2022-10-24T22:16:56Z 138.237.15.14 0 wikitext text/x-wiki ==Background== Insert summary here ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Dove C's testimony feels pressure to conform to societal expectations, "closeted" true self ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. Following the beginning of Ben and Mal's relationship, she begins dating Chad in hopes of making Ben jealous. In the second movie, Audrey has dumped Chad. ===Harry=== Removed gay kiss/wears makeup ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In the Society== USA, rich vs poverty activism ==Actors/Actresses== ===Dove Cameron=== identifies as bi and queer ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== fc4d879091a3395ef5c3fc883cfc5162e064f836 500 470 2022-10-26T18:54:24Z 138.237.15.108 0 /* Background */ wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Dove C's testimony feels pressure to conform to societal expectations, "closeted" true self ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. Following the beginning of Ben and Mal's relationship, she begins dating Chad in hopes of making Ben jealous. In the second movie, Audrey has dumped Chad. ===Harry=== Removed gay kiss/wears makeup ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In the Society== USA, rich vs poverty activism ==Actors/Actresses== ===Dove Cameron=== identifies as bi and queer ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 533a015a3a29b2990654a7854e4da6ee61f3030f 501 500 2022-10-26T18:55:31Z 138.237.15.108 0 /* Harry */ wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Dove C's testimony feels pressure to conform to societal expectations, "closeted" true self ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. Following the beginning of Ben and Mal's relationship, she begins dating Chad in hopes of making Ben jealous. In the second movie, Audrey has dumped Chad. ===Harry=== Removed same-sex kiss/wears makeup ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In the Society== USA, rich vs poverty activism ==Actors/Actresses== ===Dove Cameron=== identifies as bi and queer ==Criticism== ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 9cc57022121d223da8a2b17bc27e0a6ca89407df 502 501 2022-10-26T18:56:22Z 138.237.15.108 0 wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Dove C's testimony feels pressure to conform to societal expectations, "closeted" true self If only ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. Following the beginning of Ben and Mal's relationship, she begins dating Chad in hopes of making Ben jealous. In the second movie, Audrey has dumped Chad. ===Harry=== Removed gay kiss/wears makeup ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Actors/Actresses== ===Dove Cameron=== identifies as bi and queer ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 5173d6a932a4d06987b8076469cf04911a576190 503 502 2022-10-26T18:58:15Z 138.237.15.108 0 /* Evie and Doug */ wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl Evie is the businesswoman and Doug is her assistant ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Dove C's testimony feels pressure to conform to societal expectations, "closeted" true self If only ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. Following the beginning of Ben and Mal's relationship, she begins dating Chad in hopes of making Ben jealous. In the second movie, Audrey has dumped Chad. ===Harry=== Removed gay kiss/wears makeup ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Actors/Actresses== ===Dove Cameron=== identifies as bi and queer ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 7c8dabb1b2516a01f03274ece94c4de12525719f 504 503 2022-10-26T18:58:42Z 138.237.15.108 0 /* Harry */ wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl Evie is the businesswoman and Doug is her assistant ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Dove C's testimony feels pressure to conform to societal expectations, "closeted" true self If only ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. Following the beginning of Ben and Mal's relationship, she begins dating Chad in hopes of making Ben jealous. In the second movie, Audrey has dumped Chad. ===Harry=== Removed same sex kiss/wears makeup ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Actors/Actresses== ===Dove Cameron=== identifies as bi and queer ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 854394b045b658f4b4a9c9ca1d4dcda37e0671c0 506 504 2022-10-26T19:08:35Z 138.237.15.108 0 /* Background */ wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl Evie is the businesswoman and Doug is her assistant ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Dove C's testimony feels pressure to conform to societal expectations, "closeted" true self If only ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. Following the beginning of Ben and Mal's relationship, she begins dating Chad in hopes of making Ben jealous. In the second movie, Audrey has dumped Chad. ===Harry=== Removed same sex kiss/wears makeup ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Actors/Actresses== ===Dove Cameron=== identifies as bi and queer ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 474f93aff7a33ac25fe745c565f8c3a781e108d5 0 61 459 438 2022-10-24T22:04:50Z Groomesdeja 19 wikitext text/x-wiki = Background = = ''High School Musical (2006)'' = == Queer Stereotypes == Ryan's character as the stereotypically queer == Queering Expectations == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's = ''High School Musical 2'': The Queer Antithesis (2007) = More here on why HSM 2 is the queer antithesis and what that means to me == Queer Coding Ryan Evans & Chad Danforth == In the case of ''High School Musical 2'', Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as the character of Taylor, while Ryan is seen eventually becoming closer to supporting character, Kelsi, in the final film). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to his performance in "I Don't Dance", Chad is situated almost exclusively within heteronormative standards (he is a basketball player initially investing in limiting Troy's interest in theatre as seen in the first film). ==''I Don't Dance'' & Queer Undertones == A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> [https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E] Kevin P. Murphy, Jason Ruiz, and David Serlin's ''Radical History Review: Queer Futures''</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal of romance. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. = ''High School Musical 3'' (2008) = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 9efa1e619a669ad7c03b669c221be926c6f0eaab 460 459 2022-10-24T22:05:16Z Groomesdeja 19 /* High School Musical 2: The Queer Antithesis (2007) */ wikitext text/x-wiki = Background = = ''High School Musical (2006)'' = == Queer Stereotypes == Ryan's character as the stereotypically queer == Queering Expectations == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's = ''High School Musical 2''(2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me == Queer Coding Ryan Evans & Chad Danforth == In the case of ''High School Musical 2'', Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as the character of Taylor, while Ryan is seen eventually becoming closer to supporting character, Kelsi, in the final film). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to his performance in "I Don't Dance", Chad is situated almost exclusively within heteronormative standards (he is a basketball player initially investing in limiting Troy's interest in theatre as seen in the first film). ==''I Don't Dance'' & Queer Undertones == A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> [https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E] Kevin P. Murphy, Jason Ruiz, and David Serlin's ''Radical History Review: Queer Futures''</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal of romance. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. = ''High School Musical 3'' (2008) = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = da99e11d8ad82c802a2e651c8462f366bba3aa44 461 460 2022-10-24T22:05:58Z Groomesdeja 19 wikitext text/x-wiki = Background = = ''High School Musical (2006)'' = == Queer Stereotypes == Ryan's character as the stereotypically queer == Queering Expectations == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me == Queer Coding Ryan Evans & Chad Danforth == In the case of ''High School Musical 2'', Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as the character of Taylor, while Ryan is seen eventually becoming closer to supporting character, Kelsi, in the final film). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to his performance in "I Don't Dance", Chad is situated almost exclusively within heteronormative standards (he is a basketball player initially investing in limiting Troy's interest in theatre as seen in the first film). ==''I Don't Dance'' & Queer Undertones == A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> [https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E] Kevin P. Murphy, Jason Ruiz, and David Serlin's ''Radical History Review: Queer Futures''</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal of romance. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. = ''High School Musical 3'' (2008) = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = ebb0873939aff0abafcc711672aeeaa0c677f9f4 462 461 2022-10-24T22:06:29Z Groomesdeja 19 wikitext text/x-wiki = Background = = ''High School Musical (2006)'' = == Queer Stereotypes == Ryan's character as the stereotypically queer == Queering Expectations == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me == Queer Coding Ryan Evans & Chad Danforth == In the case of ''High School Musical 2'', Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as the character of Taylor, while Ryan is seen eventually becoming closer to supporting character, Kelsi, in the final film). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to his performance in "I Don't Dance", Chad is situated almost exclusively within heteronormative standards (he is a basketball player initially investing in limiting Troy's interest in theatre as seen in the first film). ==''I Don't Dance'' & Queer Undertones == A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> [https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E] Kevin P. Murphy, Jason Ruiz, and David Serlin's ''Radical History Review: Queer Futures''</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal of romance. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. =''High School Musical 3'' (2008)= = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = e2152f14e7a17d1a3f96f61899a0731a5b492185 464 462 2022-10-24T22:10:27Z Groomesdeja 19 /* High School Musical 2 (2007): The Queer Antithesis */ wikitext text/x-wiki = Background = = ''High School Musical (2006)'' = == Queer Stereotypes == Ryan's character as the stereotypically queer == Queering Expectations == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure) == Ryan Evans & Chad Danforth == In the case of ''High School Musical 2'', Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as the character of Taylor, while Ryan is seen eventually becoming closer to supporting character, Kelsi, in the final film). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to his performance in "I Don't Dance", Chad is situated almost exclusively within heteronormative standards (he is a basketball player initially investing in limiting Troy's interest in theatre as seen in the first film). ==''I Don't Dance'' & Queer Undertones == A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> [https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E] Kevin P. Murphy, Jason Ruiz, and David Serlin's ''Radical History Review: Queer Futures''</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal of romance. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. =''High School Musical 3'' (2008)= = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 35d060c547a756593154f06895d02fa0623d9aaa 475 464 2022-10-25T02:41:44Z Groomesdeja 19 wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = == Queering Expectations == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's == Queer Stereotypes == Ryan's character as the stereotypically queer = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure) == Ryan Evans & Chad Danforth == In the case of ''High School Musical 2'', Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as the character of Taylor, while Ryan is seen eventually becoming closer to supporting character, Kelsi, in the final film). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to his performance in "I Don't Dance", Chad is situated almost exclusively within heteronormative standards (he is a basketball player initially investing in limiting Troy's interest in theatre as seen in the first film). ==''I Don't Dance'' & Queer Undertones == A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> [https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E] Kevin P. Murphy, Jason Ruiz, and David Serlin's ''Radical History Review: Queer Futures''</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal of romance. The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. =''High School Musical 3'' (2008)= = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 114428d32424a6a3fa5f6607b058a018c9f3ded7 486 475 2022-10-25T16:20:26Z Groomesdeja 19 wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = == Queering Expectations == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == Ryan's character as the stereotypically queer = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure) == Ryan Evans & Chad Danforth == In the case of ''High School Musical 2'', Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as the character of Taylor, while Ryan is seen eventually becoming closer to supporting character, Kelsi, in the final film). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to his performance in "I Don't Dance", Chad is situated almost exclusively within heteronormative standards (he is a basketball player initially investing in limiting Troy's interest in theatre as seen in the first film).A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> [https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E] Kevin P. Murphy, Jason Ruiz, and David Serlin's ''Radical History Review: Queer Futures''</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal of romance. ==''I Don't Dance'' & Queer Undertones == More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). Compare to Stick to the Status Quo The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. =''High School Musical 3'' (2008)= == Ryan Evans & Kelsi == Paired up for the final film = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 86998a016567bf1d384a36da43eecb79a0a5b4d5 487 486 2022-10-25T16:22:45Z Groomesdeja 19 wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = == Troy Bolton & Gabriella Montez: Queering Expectations == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == Ryan's character as the stereotypically queer = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure) == Ryan Evans & Chad Danforth == In the case of ''High School Musical 2'', Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as the character of Taylor, while Ryan is seen eventually becoming closer to supporting character, Kelsi, in the final film). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to his performance in "I Don't Dance", Chad is situated almost exclusively within heteronormative standards (he is a basketball player initially investing in limiting Troy's interest in theatre as seen in the first film).A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> [https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E] Kevin P. Murphy, Jason Ruiz, and David Serlin's ''Radical History Review: Queer Futures''</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal of romance. ==''I Don't Dance'' & Queer Undertones == More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). Compare to Stick to the Status Quo The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. =''High School Musical 3'' (2008)= == Ryan Evans & Kelsi: Re-instating the Normative == Paired up for the final film = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = d46a125b8dcd6a33b4cb69e6b6eed4193870f4c7 488 487 2022-10-25T16:25:03Z Groomesdeja 19 /* High School Musical 2 (2007): The Queer Antithesis */ wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = == Troy Bolton & Gabriella Montez: Queering Expectations == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == Ryan's character as the stereotypically queer = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look of Shakespeare term about a new environment being situated in limbo and allowing for new character interactions == Ryan Evans & Chad Danforth == In the case of ''High School Musical 2'', Chad Danforth and Ryan Evans perform the song “I Don’t Dance” together, and then swap outfits sometime between the end of the number and the start of the proceeding scene. The reasoning behind their exchange in clothing is left ambiguous and unexplained to viewer. The ambiguity of this scene can be read from a queer-coded perspective that insinuates an underlying intimate relationship that occurred off-screen between the two characters. This queer-coded viewpoint thus queers the initially established homonormative and heteronormative relationships presented in the film (Chad's default love interest is initially posed as the character of Taylor, while Ryan is seen eventually becoming closer to supporting character, Kelsi, in the final film). The vague nature of this clothing exchange allows for queerness to exist as a spectrum rather than one solely focused on identifiers and labels. While Ryan's character is coded as more "overtly" queer due to the stereotypes of his interests in theatre and attention to fashion, prior to his performance in "I Don't Dance", Chad is situated almost exclusively within heteronormative standards (he is a basketball player initially investing in limiting Troy's interest in theatre as seen in the first film).A queer-coded understanding of Chad and Ryan’s relationships following their musical number would forego Gayle Rubin’s ideal of the “charmed circle,” or a need for societal acceptance within a queer identity <ref> [https://watermark.silverchair.com/RHR100_02_Intro.pdf?token=AQECAHi208BE49Ooan9kkhW_Ercy7Dm3ZL_9Cf3qfKAc485ysgAAAwwwggMIBgkqhkiG9w0BBwagggL5MIIC9QIBADCCAu4GCSqGSIb3DQEHATAeBglghkgBZQMEAS4wEQQMhtptnZnBXaLjXikLAgEQgIICv7pNBvs7FipJM7cRx2A2eAe7K5YwK86bAGRvOUZYeQHFzzzSwIgU7nJt9fyhfL0EiMQTmecbbCPrZHDjjcxlCalHSCH_kvPMzW-BuznG6UE8U74OHFEgiS9V2terjWF0KfFT7cVvWB4KRhzDN_NT9a1TppiY-kNRlwrC9gat19N1JWvwpfE6ztt5NIWNqS48gU93iT_ZuflF7mvuUN7cN5ACgQ4xj_IV7678QbWwuZF6SSRGrobmIceQtfx1ly3SrHN1QlrPu-IugilpJKflqKk-C_cg0PhWZzGRs3w4JM9ZopyWBx4LafJFKX-ClpH179pcAYvMboyDmmk-z7YQN25UJwUuQi20J9_Ynm2dQQtIKVbzNukgZX5-GYS62u27ivf4G_oxAYkkUAlGkxguLWcoPHgRRrZcSm5kMTGeKlA0_2AqW-GL9Dhi37o-MmCZCWfJKgs8zgQxgH9zr39UHVnSGkCjp1XWtyv_pJxNhA9H8XZ94FM4cI4o1eZM3pqU_T7-SGlky0gZUZeSVGXc-AZHIp-u_aEiDdVDivP3aEmxfkJ2CzNNzWLk8FIjsGFPJJz-WcAJ27u1h9oHcPfFu2y3YgPQ80s9OuPoDw9FBLnvW8-gg5U2505HIleUsIwi3QPBHJ2eMlTsZaxQh88c9WFEXHqunZRO-cFOpsjLhrAPoaG-2mh3YbewkI-uLr2KQtW9XzUNSr6bCwQ8PYwk_ptq7wnZHt3DhT814Oz-_QoBELofPaipO5shPuAxA0jVQfzaBSIeeAQok6icnbmz7lTGHGbf-_eaSlRYaBkuwVDYdivNFtaJy4dWdYDir0p6QUvY6-kTUNWCTy1evxVCrPPi07gygTvcAaRiMXfhcCFAkM1b0Mo4YA5438qJ4sLwFER3FGEfKsof_KOqKGRBK6Svta6-lGW7vXSWWz347_E] Kevin P. Murphy, Jason Ruiz, and David Serlin's ''Radical History Review: Queer Futures''</ref>. Instead, a highly rated and watched children’s film of the mid-2000s is able to exist as a positive, and possibly queer portrayal of romance. ==''I Don't Dance'' & Queer Undertones == More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). Compare to Stick to the Status Quo The societal labels so heavily upheld for the majority of the first film (read: musical number "Stick to the Status Quo") are queered completely through this additional understanding of the sequel and Chad and Ryan's relationship. =''High School Musical 3'' (2008)= == Ryan Evans & Kelsi: Re-instating the Normative == Paired up for the final film = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = a53d063328d01528c1f0bba48234cc9997c61d6a 0 60 463 435 2022-10-24T22:09:38Z 138.237.15.8 0 wikitext text/x-wiki == The controversy in straight women as queer icons == == Britney Spears == == Diana Ross == == Ariana Grande == == Taylor Swift and the queer rumors == c6feddd13ab7f8cf561e887602eb249f5e640f29 465 463 2022-10-24T22:11:00Z 138.237.15.8 0 /* Taylor Swift and the queer rumors */ wikitext text/x-wiki == The controversy in straight women as queer icons == == Britney Spears == == Diana Ross == == Ariana Grande == == Taylor Swift and "You Need to Calm Down" == 796df19d5f1a3fc10c6aeeb164ef5ac660744bbf 466 465 2022-10-24T22:11:23Z 138.237.15.8 0 /* Diana Ross */ wikitext text/x-wiki == The controversy in straight women as queer icons == == Britney Spears == == Diana Ross and "I'm Coming Out" == == Ariana Grande == == Taylor Swift and "You Need to Calm Down" == 7046f744f363d7c4e3f366aa1101ccbaed6a4e0f 0 62 467 2022-10-24T22:12:36Z 138.237.15.28 0 Created page with "Steven Universe is a children’s show that ran on Cartoon Network from 2013-2019 and was revolutionary in its queer representation. Through blatant queerness and subtle references, this show radiates queerness in every aspect. Steven Universe constantly queers expectations, from big ways to small ways. In this wiki we will discuss some of the many queer representations and some of the ways Steven Universe queers our thinking. === Rose and Pearl === Pearl was in love wit..." wikitext text/x-wiki Steven Universe is a children’s show that ran on Cartoon Network from 2013-2019 and was revolutionary in its queer representation. Through blatant queerness and subtle references, this show radiates queerness in every aspect. Steven Universe constantly queers expectations, from big ways to small ways. In this wiki we will discuss some of the many queer representations and some of the ways Steven Universe queers our thinking. === Rose and Pearl === Pearl was in love with the late Rose, the protagonist’s mother, and had a hard time accepting her relationship with Steven’s father and her subsequent death. This is most memorable in the song “It’s Over, Isn’t It”. Pearl says, “I was fine when you came, And we fought like it was all some silly game, Over her, who she'd choose, After all those years, I never thought I'd lose…You won, and she chose you, and she loved you, and she's gone, It's over, isn't it? Why can't I move on?” This demonstrates how Pearl can’t move on from her love for Rose, even though she knows she was not chosen and Rose is now dead. There is also an interesting relation to power in this relationship. Rose was the leader of the rebellion group the Crystal Gems, which Pearl was a part of as Rose’s second-in-command. This put her in a lower power position than Rose. Another way the power dynamic is evident is the fact that Pearl is a pearl, a class of gems whose purpose is to be servants to the upper class of gems. Rose is a diamond, the highest class of gems, although she is disguised as a rose quarts. Pearl was Rose’s personal servant, as shown in the episode “A Single Pale Rose”. This also puts her in a position of low power in comparison to Rose. === Ruby and Sapphire === Ruby and Sapphire are a married lesbian couple in the show, and Steven Universe made history with them by showing the first same-sex proposal and marriage on a kid’s show. The character Garnet is a fusion of these characters and represents their relationship, singing in the episode “Jail Break”, “Go ahead and try to hit me if you're able. Can't you see that my relationship is stable? I can see you hate the way we intermingle. But I think you're just mad 'cause you're single. I am their fury, I am their patience, I am a conversation. I am made o-o-o-o-of lo-o-o-o-ove. (of love)”. Although, censorship posed a problem for the couple. The show, or certain episodes of it, has been banned in Kenya, Russia, Sweden, Malaysia and other markets entirely due to its LGBT themes. Ruby, who presents more masculine, is portrayed as a boy in some markets to force the relationship into heterosexual territory. For the wedding, in order to overcome this hurdle and make the couple read undeniably queer, they put Ruby in a wedding dress and Sapphire in a suit. === Stevonnie === Stevonnie is a fusion of Steven and Connie introduced in the season 1 episode “Alone Together”. Garnet describes fusion to them as such,”You are not two people and you are not one person. You... are an experience! Make sure it's a good experience. Now go... have... fun!” This queers relationships in a new way, blurring boundaries between where one person starts and another ends. It describes relationships as an experience, which brings to the forefront of our perception the impermanence and fluidity of relationships. Relationships shift and change with time, and sometimes they end. By describing relationships as an experience, it allows us to think of relationships in a new way. As a fusion, their personality is a mix of both characters. They have the logic and anxiety of Connie and the friendliness and anger of Steven. Whenever stressed, one of the character’s personalities will become more prevalent. This is seen when Stevonnie has a panic attack during a rave, which is traced back to Connie’s personality. In terms of appearance, Stevonnie presents androgynously. They are tall and stocky, occasionally have facial hair, have long hair and wear shorts and a crop top. Although no physical trait is exclusive to one gender, there are traits commonly associated with them. The mixing of these expected masculine and feminine physical traits creates an androgyny. Both male and female characters show attractions towards them throughout the show, such as the characters Lars and Sadie. Stevonnie is nonbinary and intersex. They are one of the few nonbinary characters in children’s media, their only notable contemporaries being Double Trouble from [[Representation in She-Ra and the Princesses of Power|She-Ra and the Princesses of Power]] and Raine Whispers from The Owl House. Also notable is that Stevonnie was likely the first nonbinary character in children’s animation. === Fluorite === Fluorite, a character introduced in the episode “Off Colors”, represents polyamorous relationships. She is a fusion of 6 different gems, and says more are welcome to join, saying, “Maybe more [Gems], if we meet the right Gem.” Fluorite is an outcast in her homeworld due to how she uses fusion. Fusion of multiple gems is typically reserved for combat purposes, yet in Fluorite and the character Garnet’s case, it is the way they choose to exist in their romantic relationships. Fusion merges two characters into one person, allowing both to exist as a new, unique entity representative of the relationship of the characters. It's no wonder Fluorite and Garnet choose to stay fused thinking of it this way. There is few instances of polyamorous representation in animation, some examples being only highly suggested and not evident, as with Rogelio, Kyle, and Lonnie from She-Ra and the Princesses of Power. Other examples include La’gaan, Coral, and Rodin from Young Justice, and Tree Trunks, Mr. Pig and her alien husband in Adventure Time. === References === Cao, Caroline. “'Steven Universe': 5 Ways This Kids Show Was Queer before Its Lesbian Kiss.” IndieWire, IndieWire, 13 July 2018, https://www.indiewire.com/2018/07/steven-universe-queer-rebecca-sugar-1201983866/. Mihailova, Mihaela. “Drawn (to) Independence: Female Showrunners in Contemporary American TV Animation.” Feminist Media Studies, vol. 19, no. 7, Nov. 2019, pp. 1009–1025. EBSCOhost, doi:10.1080/14680777.2019.1667065. Representation in Steven Universe, edited by John R. Ziegler, and Leah Richards, Springer International Publishing AG, 2020. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/TCU/detail.action?docID=6012264. “Garnet.” Steven Universe Wiki, https://steven-universe.fandom.com/wiki/Garnet. “Stevonnie.” Steven Universe Wiki, https://steven-universe.fandom.com/wiki/Stevonnie. 6a4fc530a8dc49139d8c754746c68e655b91ed10 468 467 2022-10-24T22:13:24Z 138.237.15.28 0 wikitext text/x-wiki Steven Universe is a children’s show that ran on Cartoon Network from 2013-2019 and was revolutionary in its queer representation. Through blatant queerness and subtle references, this show radiates queerness in every aspect. Steven Universe constantly queers expectations, from big ways to small ways. In this wiki we will discuss some of the many queer representations and some of the ways Steven Universe queers our thinking. === Rose and Pearl === Pearl was in love with the late Rose, the protagonist’s mother, and had a hard time accepting her relationship with Steven’s father and her subsequent death. This is most memorable in the song “It’s Over, Isn’t It”. Pearl says, “I was fine when you came, And we fought like it was all some silly game, Over her, who she'd choose, After all those years, I never thought I'd lose…You won, and she chose you, and she loved you, and she's gone, It's over, isn't it? Why can't I move on?” This demonstrates how Pearl can’t move on from her love for Rose, even though she knows she was not chosen and Rose is now dead. There is also an interesting relation to power in this relationship. Rose was the leader of the rebellion group the Crystal Gems, which Pearl was a part of as Rose’s second-in-command. This put her in a lower power position than Rose. Another way the power dynamic is evident is the fact that Pearl is a pearl, a class of gems whose purpose is to be servants to the upper class of gems. Rose is a diamond, the highest class of gems, although she is disguised as a rose quarts. Pearl was Rose’s personal servant, as shown in the episode “A Single Pale Rose”. This also puts her in a position of low power in comparison to Rose. === Ruby and Sapphire === Ruby and Sapphire are a married lesbian couple in the show, and Steven Universe made history with them by showing the first same-sex proposal and marriage on a kid’s show. The character Garnet is a fusion of these characters and represents their relationship, singing in the episode “Jail Break”, “Go ahead and try to hit me if you're able. Can't you see that my relationship is stable? I can see you hate the way we intermingle. But I think you're just mad 'cause you're single. I am their fury, I am their patience, I am a conversation. I am made o-o-o-o-of lo-o-o-o-ove. (of love)”. Although, censorship posed a problem for the couple. The show, or certain episodes of it, has been banned in Kenya, Russia, Sweden, Malaysia and other markets entirely due to its LGBT themes. Ruby, who presents more masculine, is portrayed as a boy in some markets to force the relationship into heterosexual territory. For the wedding, in order to overcome this hurdle and make the couple read undeniably queer, they put Ruby in a wedding dress and Sapphire in a suit. === Stevonnie === Stevonnie is a fusion of Steven and Connie introduced in the season 1 episode “Alone Together”. Garnet describes fusion to them as such,”You are not two people and you are not one person. You... are an experience! Make sure it's a good experience. Now go... have... fun!” This queers relationships in a new way, blurring boundaries between where one person starts and another ends. It describes relationships as an experience, which brings to the forefront of our perception the impermanence and fluidity of relationships. Relationships shift and change with time, and sometimes they end. By describing relationships as an experience, it allows us to think of relationships in a new way. As a fusion, their personality is a mix of both characters. They have the logic and anxiety of Connie and the friendliness and anger of Steven. Whenever stressed, one of the character’s personalities will become more prevalent. This is seen when Stevonnie has a panic attack during a rave, which is traced back to Connie’s personality. In terms of appearance, Stevonnie presents androgynously. They are tall and stocky, occasionally have facial hair, have long hair and wear shorts and a crop top. Although no physical trait is exclusive to one gender, there are traits commonly associated with them. The mixing of these expected masculine and feminine physical traits creates an androgyny. Both male and female characters show attractions towards them throughout the show, such as the characters Lars and Sadie. Stevonnie is nonbinary and intersex. They are one of the few nonbinary characters in children’s media, their only notable contemporaries being Double Trouble from [[Representation in She-Ra and the Princesses of Power|She-Ra and the Princesses of Power]] and Raine Whispers from The Owl House. Also notable is that Stevonnie was likely the first nonbinary character in children’s animation. === Fluorite === Fluorite, a character introduced in the episode “Off Colors”, represents polyamorous relationships. She is a fusion of 6 different gems, and says more are welcome to join, saying, “Maybe more [Gems], if we meet the right Gem.” Fluorite is an outcast in her homeworld due to how she uses fusion. Fusion of multiple gems is typically reserved for combat purposes, yet in Fluorite and the character Garnet’s case, it is the way they choose to exist in their romantic relationships. Fusion merges two characters into one person, allowing both to exist as a new, unique entity representative of the relationship of the characters. It's no wonder Fluorite and Garnet choose to stay fused thinking of it this way. There is few instances of polyamorous representation in animation, some examples being only highly suggested and not evident, as with Rogelio, Kyle, and Lonnie from She-Ra and the Princesses of Power. Other examples include La’gaan, Coral, and Rodin from Young Justice, and Tree Trunks, Mr. Pig and her alien husband in Adventure Time. === References === Cao, Caroline. “'Steven Universe': 5 Ways This Kids Show Was Queer before Its Lesbian Kiss.” IndieWire, IndieWire, 13 July 2018, https://www.indiewire.com/2018/07/steven-universe-queer-rebecca-sugar-1201983866/. <br> Mihailova, Mihaela. “Drawn (to) Independence: Female Showrunners in Contemporary American TV Animation.” Feminist Media Studies, vol. 19, no. 7, Nov. 2019, pp. 1009–1025. EBSCOhost, doi:10.1080/14680777.2019.1667065. <br> Representation in Steven Universe, edited by John R. Ziegler, and Leah Richards, Springer International Publishing AG, 2020. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/TCU/detail.action?docID=6012264. <br> “Garnet.” Steven Universe Wiki, https://steven-universe.fandom.com/wiki/Garnet. <br> “Stevonnie.” Steven Universe Wiki, https://steven-universe.fandom.com/wiki/Stevonnie. c7f2ff3b3bed22501068ed416bc8cf4bbf33b2bb 0 2 471 382 2022-10-24T22:51:51Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Potential Project == Here are some possible pages and projects for wiki "bureaucrats" to consider [[Potential Archives]] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Original Pages == [[Asexual Queerness]] [https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness (web archive)] [[Centaurworld]] [https://web.archive.org/web/20221024145008/https://qwiki.miraheze.org/wiki/Centaurworld (web archive)] [[Compulsory heterosexuality]] [https://web.archive.org/web/20221024145342/https://qwiki.miraheze.org/wiki/Compulsory_heterosexuality (web archive)] [[FannyAnn Eddy]] [https://web.archive.org/web/20221024150631/https://qwiki.miraheze.org/wiki/FannyAnn_Eddy (web archive)] [[Masters and Johnson's Sex Therapy but Make it Queer]] [https://web.archive.org/web/20221024145608/https://qwiki.miraheze.org/wiki/Masters_and_Johnson%27s_Sex_Therapy_but_Make_it_Queer (web archive)] [[New Queer Intimism]] [https://web.archive.org/web/20221024150103/https://qwiki.miraheze.org/wiki/New_Queer_Intimism (web archive)] [[Queer Activism Through Judicial Decisions]] [https://web.archive.org/web/20221024150454/https://qwiki.miraheze.org/wiki/Queer_Activism_Through_Judicial_Decisions (web archive)] [[Shifting Fashion Industry Ideals: Queer Fashion]] [https://web.archive.org/web/20221024151225/https://qwiki.miraheze.org/wiki/Shifting_Fashion_Industry_Ideals:_Queer_Fashion (web archive)] == Notes == == References == <references/> 7fd0be75efb337d8a3fff5be2d19d884f1815b3d 472 471 2022-10-24T22:52:14Z Matrim112830 2 /* Potential Project */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Potential Projects == Here are some possible pages and projects for wiki "bureaucrats" to consider [[Potential Archives]] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Original Pages == [[Asexual Queerness]] [https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness (web archive)] [[Centaurworld]] [https://web.archive.org/web/20221024145008/https://qwiki.miraheze.org/wiki/Centaurworld (web archive)] [[Compulsory heterosexuality]] [https://web.archive.org/web/20221024145342/https://qwiki.miraheze.org/wiki/Compulsory_heterosexuality (web archive)] [[FannyAnn Eddy]] [https://web.archive.org/web/20221024150631/https://qwiki.miraheze.org/wiki/FannyAnn_Eddy (web archive)] [[Masters and Johnson's Sex Therapy but Make it Queer]] [https://web.archive.org/web/20221024145608/https://qwiki.miraheze.org/wiki/Masters_and_Johnson%27s_Sex_Therapy_but_Make_it_Queer (web archive)] [[New Queer Intimism]] [https://web.archive.org/web/20221024150103/https://qwiki.miraheze.org/wiki/New_Queer_Intimism (web archive)] [[Queer Activism Through Judicial Decisions]] [https://web.archive.org/web/20221024150454/https://qwiki.miraheze.org/wiki/Queer_Activism_Through_Judicial_Decisions (web archive)] [[Shifting Fashion Industry Ideals: Queer Fashion]] [https://web.archive.org/web/20221024151225/https://qwiki.miraheze.org/wiki/Shifting_Fashion_Industry_Ideals:_Queer_Fashion (web archive)] == Notes == == References == <references/> 9668a7cb6f6928bc94980f594d9322abbadac2c8 0 56 473 427 2022-10-25T02:37:38Z Groomesdeja 19 wikitext text/x-wiki = Definitions of Queer Coding = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University "Dialogue" Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. = Examples of Queer Coding in Media = [[Queer Coding in Descendants]] <br> [[Queer Coding in Pitch Perfect]] <br> [[Queer coding in Lemonade mouth]] <br> = References = 0f20579b446ad97874624ef44908ab41256a4167 474 473 2022-10-25T02:38:14Z Groomesdeja 19 /* Examples of Queer Coding in Media */ wikitext text/x-wiki = Definitions of Queer Coding = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University "Dialogue" Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. = Examples of Queer Coding in Media = [[Queer Coding in Descendants]] <br> [[Queer Coding in Pitch Perfect]] <br> [[Queer coding in Lemonade mouth]] <br> [[Queer Coding in High School Musical]]<br> = References = a84f6eea62c4be350dee54fd9d34d8644ed7e1c0 476 474 2022-10-25T11:44:37Z Matrim112830 2 wikitext text/x-wiki = Definitions of Queer Coding = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University "Dialogue" Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. = Examples of Queer Coding in Media = [[Queer Coding in Descendants]] <br> [[Queer Coding in Pitch Perfect]] <br> [[Queer coding in Lemonade mouth]] <br> [[Queer Coding in High School Musical]]<br> = References = = External Links = [https://www.youtube.com/watch?v=GsO4fZYHQic The History of Queer Coding] at [https://www.youtube.com/c/JessicaKellgrenFozard/playlists?view=50&sort=dd&shelf_id=2 Jessica Kellgren-Fozard] 8ad8e6a94da5fa96b7f2f19e1647515a69d28fef 477 476 2022-10-25T11:45:08Z Matrim112830 2 wikitext text/x-wiki = Definitions of Queer Coding = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University "Dialogue" Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. = Examples of Queer Coding in Media = [[Queer Coding in Descendants]] <br> [[Queer Coding in Pitch Perfect]] <br> [[Queer coding in Lemonade mouth]] <br> [[Queer Coding in High School Musical]]<br> = External Links = [https://www.youtube.com/watch?v=GsO4fZYHQic The History of Queer Coding] at [https://www.youtube.com/c/JessicaKellgrenFozard/playlists?view=50&sort=dd&shelf_id=2 Jessica Kellgren-Fozard] = References = 854433a29889b8c5f622cdbf9648f9264d5bb6a1 478 477 2022-10-25T11:46:50Z Matrim112830 2 wikitext text/x-wiki = Definitions of Queer Coding = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University "Dialogue" Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. = Examples of Queer Coding in Media = [[Queer Coding in Descendants]] <br> [[Queer Coding in Pitch Perfect]] <br> [[Queer coding in Lemonade mouth]] <br> [[Queer Coding in High School Musical]]<br> = External Links = [https://www.youtube.com/watch?v=GsO4fZYHQic The History of Queer Coding] at [https://www.youtube.com/playlist?list=PLhADVL2AiGX88GI9QGaj5oze39ihKcXwQ Jessica Kellgren-Fozard] = References = cdaa1a5125d1bab72cf6a1b89ccc5f034cb21e6d 0 18 479 150 2022-10-25T11:51:39Z Matrim112830 2 wikitext text/x-wiki Mat Wenzel is an instructor of writing at TCU, in Fort Worth Texas. {{ExpandArticle}} == Background == == Education == == Research == == Creative Work == == References == <references/> == External Links == [http://www.matwenzel.com www.matwenzel.com]<br> [https://sketchboard.me/zDpBcFzFpPYy Queer Methodologies WIP Sketchboard] e8874cf3be4690002c04e3222f55df33e5887589 10 63 480 2022-10-25T12:02:16Z Matrim112830 2 Created page with "<!-- {{Expand}} begin -->{{Ambox | name = Expand article | subst = <includeonly>{{subst:</includeonly><includeonly>substcheck}}</includeonly> | style = width: auto; 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| type = {{{type|content}}} | image = [[File:OOjs UI icon puzzle-ltr-warning.svg|40px|link=]] | issue = '''<translate><!--T:1--> Please [[<tvar name=1>Special:EditPage/{{FULLPAGENAME}}</tvar>|expand]] this page.</translate>''' {{#if:{{{reason|}}}|<translate><!--T:3--> The reason given is:</translate> ''{{{reason}}}''}} | fix = {{#ifexist:{{TALKPAGENAME}}|<translate><!--T:4--> More information might be found on the [[<tvar name=1>{{TALKPAGENAME}}</tvar>|talk page]].</translate>|}} }} 9c818bc6a119aaece1bf7ce2bd8bb6f2caaf5394 484 483 2022-10-25T12:05:30Z Matrim112830 2 wikitext text/x-wiki <!-- {{Expand}} begin -->{{Expand Article | name = Expand article | subst = <includeonly>{{subst:</includeonly><includeonly>substcheck}}</includeonly> | style = width: auto; | type = {{{Please expand this page}}} | image = [[File:OOjs UI icon puzzle-ltr-warning.svg|40px|link=]] | issue = '''<translate><!--T:1--> Please [[<tvar name=1>Special:EditPage/{{FULLPAGENAME}}</tvar>|expand]] this page.</translate>''' {{#if:{{{reason|}}}|<translate><!--T:3--> The reason given is:</translate> ''{{{reason}}}''}} | fix = {{#ifexist:{{TALKPAGENAME}}|<translate><!--T:4--> More information might be found on the [[<tvar name=1>{{TALKPAGENAME}}</tvar>|talk page]].</translate>|}} }} efd4bcc01b6e8c3a4bc35d8a60eb805fae219f3a 485 484 2022-10-25T12:06:24Z Matrim112830 2 Undo revision 484 by [[Special:Contributions/Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) wikitext text/x-wiki <!-- {{Expand}} begin -->{{Expand Article | name = Expand article | subst = <includeonly>{{subst:</includeonly><includeonly>substcheck}}</includeonly> | style = width: auto; | type = {{{type|content}}} | image = [[File:OOjs UI icon puzzle-ltr-warning.svg|40px|link=]] | issue = '''<translate><!--T:1--> Please [[<tvar name=1>Special:EditPage/{{FULLPAGENAME}}</tvar>|expand]] this page.</translate>''' {{#if:{{{reason|}}}|<translate><!--T:3--> The reason given is:</translate> ''{{{reason}}}''}} | fix = {{#ifexist:{{TALKPAGENAME}}|<translate><!--T:4--> More information might be found on the [[<tvar name=1>{{TALKPAGENAME}}</tvar>|talk page]].</translate>|}} }} 9c818bc6a119aaece1bf7ce2bd8bb6f2caaf5394 0 55 489 403 2022-10-25T19:58:58Z Matrim112830 2 wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Archivists== ===Invisible Histories Project=== https://invisiblehistory.org/ <blockquote>The Invisible Histories Project locates, preserves, researches, and creates for local communities an accessible collection of the rich and diverse history of LGBTQ life in the US South. Currently, IHP collects in Alabama, Mississippi and Georgia. IHP acts as an intermediary between the Queer community and various institutions like universities, museums, archives, and libraries in order to preserve Southern LGBTQ histories.<ref>https://invisiblehistory.org/</ref></blockquote> ===[[The Dallas Way]]=== ===YesterQueer DFW=== https://www.facebook.com/todd.camp/about ===Weber Queer Archives=== https://www.weberqueerarchives.org/ == Activists == ===MPact FTW=== <blockquote> MPACT DFW mobilizes young gay/bisexual men to shape a healthy community for themselves, build positive social connections, and support their friends to have safer sex. </blockquote> https://www.mpactdfw.org/ === Shop Queer === <blockquote> an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ </blockquote> ===Queers 4 Climate Justice=== https://www.instagram.com/queers4climatejustice == Artists == ===Here To Stay=== <blockquote> Supporting LGBTQ artists, musicians, and mutual aid groups in DFW. </blockquote> https://linktr.ee/Heretostaynonprofit ===Third Space DFW=== <blockquote> Mission Statement Creating safe spaces for the LGBTQIA+ community. Providing platforms for our voices to be heard. Colliding community with resources. Giving rise to queer ideas, art, and individuals. We will not hide, shy away, or be ashamed. We are something new and unrecognizable a newly defined era of meaning and representation.<ref>https://thirdspacedfw.org/</ref></blockquote> https://thirdspacedfw.org/<br> https://www.instagram.com/thirdspacedfw/ ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ ===The Pansy Project=== https://thepansyproject.com/ ===Bad Queers Podcast=== https://badqueerspod.buzzsprout.com/ ===The Cyborg Jillian Weise=== http://jillianweise.com/<ref>http://jillianweise.com/</ref><br> https://www.instagram.com/p/Ci3Yguwr7lm/?igshid=NjZiMGI4OTY= == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== Podcast But Outside<br> https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> https://www.youtube.com/watch?v=S-jhXnqO6mc ===Hans Christian Anderson=== https://www.instagram.com/p/CidCv4kOp7o/?igshid=NjZiMGI4OTY= == References == <references/> a78440c4dd52bd6a7e6c09c76fa564d8910b6b8d 0 53 490 373 2022-10-26T12:16:26Z 138.237.15.64 0 wikitext text/x-wiki ''She-Ra and the Princesses of Power'' is a Netflix Original reboot of the beloved 80's ''He-Man'' spinoff of the same name. It ran for five seasons and a total of 52 episodes, stretching between 2018 and 2020. From the beginning, show runner ND Stevenson's goal was to not only contribute to but actively forward representation in children's media with this project. The show follows Adora, a defected soldier of the Horde, Glimmer, the daughter of the leader of the resistance, and Bow, Glimmer's childhood best friend as they try to reignite a resistance against the Horde and do battle against Catra, Adora's best friend in the army who was embittered by her leaving. == Development == One of the first major decisions made early in the show's development was that He-Man, an integral character to the 80's show, would not make an appearance. This was because it was important to the creators that She-Ra develop as her own character, no man awakening her destiny for her required. == Queer Creators == == Original Participants == == Queer Representation == Other queer representation in TV shows: ''Steven Universe'' == Reception == == References == <references/> 2a5c4c98d88b69dd68163db13f8ff4662ca5c355 491 490 2022-10-26T12:17:56Z 138.237.15.64 0 wikitext text/x-wiki ''She-Ra and the Princesses of Power'' is a Netflix Original reboot of the beloved 80's ''He-Man'' spinoff of the same name. It ran for five seasons and a total of 52 episodes, stretching between 2018 and 2020. From the beginning, show runner ND Stevenson's goal was to not only contribute to but actively forward representation in children's media with this project. The show follows Adora, a defected soldier of the Horde, Glimmer, the daughter of the leader of the resistance, and Bow, Glimmer's childhood best friend as they try to reignite a resistance against the Horde and do battle against Catra, Adora's best friend in the army who was embittered by her leaving. == Development == One of the first major decisions made early in the show's development was that He-Man, an integral character to the 80's show, would not make an appearance. This was because it was important to the creators that She-Ra develop as her own character, no man awakening her destiny for her required. <ref> https://www.bustle.com/p/why-isnt-he-man-in-she-ra-the-princesses-of-power-adora-is-in-charge-of-her-own-destiny-13105375 </ref> == Queer Creators == == Original Participants == == Queer Representation == Other queer representation in TV shows: ''Steven Universe'' == Reception == == References == <references/> 6e71283e531465aa636fedd736e3c680055540b2 492 491 2022-10-26T12:29:27Z 138.237.15.64 0 wikitext text/x-wiki ''She-Ra and the Princesses of Power'' is a Netflix Original reboot of the beloved 80's ''He-Man'' spinoff of the same name. It ran for five seasons and a total of 52 episodes, stretching between 2018 and 2020. From the beginning, show runner ND Stevenson's goal was to not only contribute to but actively forward representation in children's media with this project. The show follows Adora, a defected soldier of the Horde, Glimmer, the daughter of the leader of the resistance, and Bow, Glimmer's childhood best friend as they try to reignite a resistance against the Horde and do battle against Catra, Adora's best friend in the army who was embittered by her leaving. == Development == One of the first major decisions made early in the show's development was that He-Man, an integral character to the 80's show, would not make an appearance. This was because it was important to the creators that She-Ra develop as her own character, no man awakening her destiny for her required. <ref> https://www.bustle.com/p/why-isnt-he-man-in-she-ra-the-princesses-of-power-adora-is-in-charge-of-her-own-destiny-13105375 </ref> ND Stevenson cited ''Steven Universe'' as a direct influence on the nature of the show's queer representation. He also said inspiration was taken from magical girl animes, Dungeons & Dragons <ref> https://www.newsweek.com/she-ra-netflix-release-noelle-stevenson-nycc-2018-1209498 </ref>, and, of course, the original 1980's show. == Queer Creators == == Queer Representation == Other queer representation in TV shows: ''Steven Universe'' == Reception == == References == <references/> e87824376afa5866168c1624acc2b591d44f458d 493 492 2022-10-26T13:54:59Z 9thSaturn 4 wikitext text/x-wiki ''She-Ra and the Princesses of Power'' is a Netflix Original reboot of the beloved 80's ''He-Man'' spinoff of the same name. It ran for five seasons and a total of 52 episodes, stretching between 2018 and 2020. From the beginning, show runner ND Stevenson's goal was to not only contribute to but actively forward representation in children's media with this project. The show follows Adora, a defected soldier of the Horde, Glimmer, the daughter of the leader of the resistance, and Bow, Glimmer's childhood best friend as they try to reignite a resistance against the Horde and do battle against Catra, Adora's best friend in the army who was embittered by her leaving. == Development == One of the first major decisions made early in the show's development was that He-Man, an integral character to the 80's show, would not make an appearance. This was because it was important to the creators that She-Ra develop as her own character, no man awakening her destiny for her required. <ref> https://www.bustle.com/p/why-isnt-he-man-in-she-ra-the-princesses-of-power-adora-is-in-charge-of-her-own-destiny-13105375 </ref> ND Stevenson cited [[Queer Representation in Steven Universe|''Steven Universe'']] as a direct influence on the nature of the show's queer representation. He also said inspiration was taken from magical girl animes, Dungeons & Dragons <ref> https://www.newsweek.com/she-ra-netflix-release-noelle-stevenson-nycc-2018-1209498 </ref>, and, of course, the original 1980's show. == Creators == Not only does ''She-Ra'' tell important queer and minority-specific stories; those stories are also told by the represented people themselves. Series creator and show runner ND Stevenson, for example, is nonbinary and transmasculine, and only one member of the principal voice cast is white. Furthermore, the writer's room was made up of exclusively women, a rarity in the television industry. <ref> https://www.nytimes.com/2018/11/01/arts/television/she-ra-netflix-dreamworks-animation.html </ref> == Queer Representation == Straight, cis people are definitely in the minority on ''She-Ra.'' Many characters are explicitly shown to be queer, while others are heavily coded, with explicit confirmation coming from the creators outside the context of the show. Stevenson == Reception == == References == <references/> 5a4a3b4a9204267b8142ac41f0533a17879e3495 494 493 2022-10-26T14:03:34Z 9thSaturn 4 wikitext text/x-wiki ''She-Ra and the Princesses of Power'' is a Netflix Original reboot of the beloved 80's ''He-Man'' spinoff of the same name. It ran for five seasons and a total of 52 episodes, stretching between 2018 and 2020. From the beginning, show runner ND Stevenson's goal was to not only contribute to but actively forward representation in children's media with this project. The show follows Adora, a defected soldier of the Horde, Glimmer, the daughter of the leader of the resistance, and Bow, Glimmer's childhood best friend as they try to reignite a resistance against the Horde and do battle against Catra, Adora's best friend in the army who was embittered by her leaving. == Development == One of the first major decisions made early in the show's development was that He-Man, an integral character to the 80's show, would not make an appearance. This was because it was important to the creators that She-Ra develop as her own character, no man awakening her destiny for her required. <ref> https://www.bustle.com/p/why-isnt-he-man-in-she-ra-the-princesses-of-power-adora-is-in-charge-of-her-own-destiny-13105375 </ref> ND Stevenson cited [[Queer Representation in Steven Universe|''Steven Universe'']] as a direct influence on the nature of the show's queer representation. He also said inspiration was taken from magical girl animes, Dungeons & Dragons <ref> https://www.newsweek.com/she-ra-netflix-release-noelle-stevenson-nycc-2018-1209498 </ref>, and, of course, the original 1980's show. == Creators == Not only does ''She-Ra'' tell important queer and minority-specific stories; those stories are also told by the represented people themselves. Series creator and show runner ND Stevenson, for example, is nonbinary and transmasculine, and only one member of the principal voice cast is white. Furthermore, the writer's room was made up of exclusively women, a rarity in the television industry. <ref> https://www.nytimes.com/2018/11/01/arts/television/she-ra-netflix-dreamworks-animation.html </ref> == Queer Representation == Straight, cis people are definitely in the minority on ''She-Ra.'' Many characters are explicitly shown to be queer, while others are heavily coded, with explicit confirmation coming from the creators outside the context of the show. Stevenson has gone on record saying the queer relationship between protagonist Adora and her childhood best friend turned nemesis Catra is the "climax of the entire show." <ref> https://www.vanityfair.com/hollywood/2021/03/raya-and-the-last-dragon-kelly-marie-tran-gay-namaari-raya </ref> == Reception == == References == <references/> 31acd5545e5b0f308e279b19bfa38233679f91d6 495 494 2022-10-26T14:18:52Z 9thSaturn 4 wikitext text/x-wiki ''She-Ra and the Princesses of Power'' is a Netflix Original reboot of the beloved 80's ''He-Man'' spinoff of the same name. It ran for five seasons and a total of 52 episodes, stretching between 2018 and 2020. From the beginning, show runner ND Stevenson's goal was to not only contribute to but actively forward representation in children's media with this project. The show follows Adora, a defected soldier of the Horde, Glimmer, the daughter of the leader of the resistance, and Bow, Glimmer's childhood best friend as they try to reignite a resistance against the Horde and do battle against Catra, Adora's best friend in the army who was embittered by her leaving. == Development == One of the first major decisions made early in the show's development was that He-Man, an integral character to the 80's show, would not make an appearance. This was because it was important to the creators that She-Ra develop as her own character, no man awakening her destiny for her required. <ref> https://www.bustle.com/p/why-isnt-he-man-in-she-ra-the-princesses-of-power-adora-is-in-charge-of-her-own-destiny-13105375 </ref> ND Stevenson cited [[Queer Representation in Steven Universe|''Steven Universe'']] as a direct influence on the nature of the show's queer representation. He also said inspiration was taken from magical girl animes, Dungeons & Dragons <ref> https://www.newsweek.com/she-ra-netflix-release-noelle-stevenson-nycc-2018-1209498 </ref>, and, of course, the original 1980's show. == Creators == Not only does ''She-Ra'' tell important queer and minority-specific stories; those stories are also told by the represented people themselves. Series creator and show runner ND Stevenson, for example, is nonbinary and transmasculine, and only one member of the principal voice cast is white. Furthermore, the writer's room was made up of exclusively women, a rarity in the television industry. <ref> https://www.nytimes.com/2018/11/01/arts/television/she-ra-netflix-dreamworks-animation.html </ref> == Queer Representation == Straight, cis people are definitely in the minority on ''She-Ra.'' Many characters are explicitly shown to be queer, while others are heavily coded, with explicit confirmation coming from the creators outside the context of the show. Stevenson has gone on record saying the queer relationship between protagonist Adora and her childhood best friend turned nemesis Catra is the "climax of the entire show." <ref> https://www.vanityfair.com/hollywood/2021/03/raya-and-the-last-dragon-kelly-marie-tran-gay-namaari-raya </ref> Five seasons of friends to enemies to allies and everything in between culminate with a mutual love confession and on-screen kiss, which was revolutionary for children's media at the time. However, there are several other, much less tumultuous, queer relationships featured in the show as well. Spinnerella and Netossa, for example, two of the ensemble princess cast members, are established as being married in the first season, and while not much is done with that initially, season five features an emotional plot line in which Spinnerella has fallen under the mind control of Horde Prime, the ultimate big bad of the series, and Netossa must do everything in her power to save her. Additionally, Bow, one of the main trio and the only male character in the principal cast, introduces his parents in a season two episode: their names are Lance and George, and they're a happily married gay couple. There's also representation for non-cisnormative gender identities, particularly in one character named Double Trouble. Double Trouble, voiced by non-binary voice actor Jacob Tobia, is a shape shifter who uses they/them pronouns and completely defies gender norms, not hesitating to take any form, regardless of gender, and disregarding heteronormative behavior when in their natural form. == Reception == == References == <references/> 2fd785872db5a486d1cac7bbb67eddfd9555e62b 496 495 2022-10-26T14:45:36Z 9thSaturn 4 wikitext text/x-wiki ''She-Ra and the Princesses of Power'' is a Netflix Original reboot of the beloved 80's ''He-Man'' spinoff of the same name. It ran for five seasons and a total of 52 episodes, stretching between 2018 and 2020. From the beginning, show runner ND Stevenson's goal was to not only contribute to but actively forward representation in children's media with this project. The show follows Adora, a defected soldier of the Horde, Glimmer, the daughter of the leader of the resistance, and Bow, Glimmer's childhood best friend as they try to reignite a resistance against the Horde and do battle against Catra, Adora's best friend in the army who was embittered by her leaving. == Development == One of the first major decisions made early in the show's development was that He-Man, an integral character to the 80's show, would not make an appearance. This was because it was important to the creators that She-Ra develop as her own character, no man awakening her destiny for her required. <ref> https://www.bustle.com/p/why-isnt-he-man-in-she-ra-the-princesses-of-power-adora-is-in-charge-of-her-own-destiny-13105375 </ref> ND Stevenson cited [[Queer Representation in Steven Universe|''Steven Universe'']] as a direct influence on the nature of the show's queer representation. He also said inspiration was taken from magical girl animes, Dungeons & Dragons <ref> https://www.newsweek.com/she-ra-netflix-release-noelle-stevenson-nycc-2018-1209498 </ref>, and, of course, the original 1980's show. == Creators == Not only does ''She-Ra'' tell important queer and minority-specific stories; those stories are also told by the represented people themselves. Series creator and show runner ND Stevenson, for example, is nonbinary and transmasculine, and only one member of the principal voice cast is white. Furthermore, the writer's room was made up of exclusively women, a rarity in the television industry. <ref> https://www.nytimes.com/2018/11/01/arts/television/she-ra-netflix-dreamworks-animation.html </ref> == Queer Representation == Straight, cis people are definitely in the minority on ''She-Ra.'' Many characters are explicitly shown to be queer, while others are heavily coded, with explicit confirmation coming from the creators outside the context of the show. Stevenson has gone on record saying the queer relationship between protagonist Adora and her childhood best friend turned nemesis Catra is the "climax of the entire show." <ref> https://www.vanityfair.com/hollywood/2021/03/raya-and-the-last-dragon-kelly-marie-tran-gay-namaari-raya </ref> Five seasons of friends to enemies to allies and everything in between culminate with a mutual love confession and on-screen kiss, which was revolutionary for children's media at the time. However, there are several other, much less tumultuous, queer relationships featured in the show as well. Spinnerella and Netossa, for example, two of the ensemble princess cast members, are established as being married in the first season, and while not much is done with that initially, season five features an emotional plot line in which Spinnerella has fallen under the mind control of Horde Prime, the ultimate big bad of the series, and Netossa must do everything in her power to save her. Additionally, Bow, one of the main trio and the only male character in the principal cast, introduces his parents in a season two episode: their names are Lance and George, and they're a happily married gay couple. There's also representation for non-cisnormative gender identities, particularly in one character named Double Trouble. Double Trouble, voiced by non-binary voice actor Jacob Tobia, is a shape shifter who uses they/them pronouns and completely defies gender norms, not hesitating to take any form, regardless of gender, and disregarding heteronormative behavior when in their natural form. None of that is to mention the confirmation given by the creators about gender and sexual identity. For example, Perfuma, another of the ensemble princesses, was confirmed by character designer Ray Geiger to have been drawn as a trans woman, <ref> https://web.archive.org/web/20200701145447/https://raegeii.tumblr.com/post/618934327237099521/heya-i-was-just-curious-and-feel-free-to-ignore </ref> and Bow and Glimmer were confirmed by Stevenson to be "definitely not straight," which many fans interpreted to mean bisexual. <ref> https://www.youtube.com/watch?v=zOFJHXBGDoc&t=3h33m10s </ref> Additionally, when asked what a large rainbow was supposed to symbolize in the season one finale, Stevenson said, "the gay agenda." <ref> https://www.nerdologues.com/podcasts/she-ra-progressive-power/episodes/battle-bright-moon-noelle-stevenson </ref> == Reception == == References == <references/> 1396a40804f1e5184e22a55e38aaf71ec4857f40 497 496 2022-10-26T14:51:15Z 9thSaturn 4 wikitext text/x-wiki ''She-Ra and the Princesses of Power'' is a Netflix Original reboot of the beloved 80's ''He-Man'' spinoff of the same name. It ran for five seasons and a total of 52 episodes, stretching between 2018 and 2020. From the beginning, show runner ND Stevenson's goal was to not only contribute to but actively forward representation in children's media with this project. The show follows Adora, a defected soldier of the Horde, Glimmer, the daughter of the leader of the resistance, and Bow, Glimmer's childhood best friend as they try to reignite a resistance against the Horde and do battle against Catra, Adora's best friend in the army who was embittered by her leaving. == Development == One of the first major decisions made early in the show's development was that He-Man, an integral character to the 80's show, would not make an appearance. This was because it was important to the creators that She-Ra develop as her own character, no man awakening her destiny for her required. <ref> https://www.bustle.com/p/why-isnt-he-man-in-she-ra-the-princesses-of-power-adora-is-in-charge-of-her-own-destiny-13105375 </ref> ND Stevenson cited [[Queer Representation in Steven Universe|''Steven Universe'']] as a direct influence on the nature of the show's queer representation. He also said inspiration was taken from magical girl animes, Dungeons & Dragons <ref> https://www.newsweek.com/she-ra-netflix-release-noelle-stevenson-nycc-2018-1209498 </ref>, and, of course, the original 1980's show. == Creators == Not only does ''She-Ra'' tell important queer and minority-specific stories; those stories are also told by the represented people themselves. Series creator and show runner ND Stevenson, for example, is nonbinary and transmasculine, and only one member of the principal voice cast is white. Furthermore, the writer's room was made up of exclusively women, a rarity in the television industry. <ref> https://www.nytimes.com/2018/11/01/arts/television/she-ra-netflix-dreamworks-animation.html </ref> == Queer Representation == Straight, cis people are definitely in the minority on ''She-Ra.'' Many characters are explicitly shown to be queer, while others are heavily coded, with explicit confirmation coming from the creators outside the context of the show. Stevenson has gone on record saying the queer relationship between protagonist Adora and her childhood best friend turned nemesis Catra is the "climax of the entire show." <ref> https://www.vanityfair.com/hollywood/2021/03/raya-and-the-last-dragon-kelly-marie-tran-gay-namaari-raya </ref> Five seasons of friends to enemies to allies and everything in between culminate with a mutual love confession and on-screen kiss, which was revolutionary for children's media at the time. However, there are several other, much less tumultuous, queer relationships featured in the show as well. Spinnerella and Netossa, for example, two of the ensemble princess cast members, are established as being married in the first season, and while not much is done with that initially, season five features an emotional plot line in which Spinnerella has fallen under the mind control of Horde Prime, the ultimate big bad of the series, and Netossa must do everything in her power to save her. Additionally, Bow, one of the main trio and the only male character in the principal cast, introduces his parents in a season two episode: their names are Lance and George, and they're a happily married gay couple. There's also representation for non-cisnormative gender identities, particularly in one character named Double Trouble. Double Trouble, voiced by non-binary voice actor Jacob Tobia, is a shape shifter who uses they/them pronouns and completely defies gender norms, not hesitating to take any form, regardless of gender, and disregarding heteronormative behavior when in their natural form. None of that is to mention the confirmation given by the creators about gender and sexual identity. For example, Perfuma, another of the ensemble princesses, was confirmed by character designer Ray Geiger to have been drawn as a trans woman, <ref> https://web.archive.org/web/20200701145447/https://raegeii.tumblr.com/post/618934327237099521/heya-i-was-just-curious-and-feel-free-to-ignore </ref> and Bow and Glimmer were confirmed by Stevenson to be "definitely not straight," which many fans interpreted to mean bisexual. <ref> https://www.youtube.com/watch?v=zOFJHXBGDoc&t=3h33m10s </ref> Additionally, when asked what a large rainbow was supposed to symbolize in the season one finale, Stevenson said, "the gay agenda." <ref> https://www.nerdologues.com/podcasts/she-ra-progressive-power/episodes/battle-bright-moon-noelle-stevenson </ref> == Reception == As is to be expected, reception of such an openly queer show, even before the queer elements had really been introduced and everything was still mostly implied, was mixed. Before the show even began airing, there was blood in the water, starting with She-Ra's new design being released. There was an outcry about how she'd been stripped of all sexual appeal. == References == <references/> 90b815c888b188357979906ff79e2abe743d3246 498 497 2022-10-26T16:04:40Z 9thSaturn 4 wikitext text/x-wiki ''She-Ra and the Princesses of Power'' is a Netflix Original reboot of the beloved 80's ''He-Man'' spinoff of the same name. It ran for five seasons and a total of 52 episodes, stretching between 2018 and 2020. From the beginning, show runner ND Stevenson's goal was to not only contribute to but actively forward representation in children's media with this project. The show follows Adora, a defected soldier of the Horde, Glimmer, the daughter of the leader of the resistance, and Bow, Glimmer's childhood best friend as they try to reignite a resistance against the Horde and do battle against Catra, Adora's best friend in the army who was embittered by her leaving. == Development == One of the first major decisions made early in the show's development was that He-Man, an integral character to the 80's show, would not make an appearance. This was because it was important to the creators that She-Ra develop as her own character, no man awakening her destiny for her required. <ref> https://www.bustle.com/p/why-isnt-he-man-in-she-ra-the-princesses-of-power-adora-is-in-charge-of-her-own-destiny-13105375 </ref> ND Stevenson cited [[Queer Representation in Steven Universe|''Steven Universe'']] as a direct influence on the nature of the show's queer representation. He also said inspiration was taken from magical girl animes, Dungeons & Dragons <ref> https://www.newsweek.com/she-ra-netflix-release-noelle-stevenson-nycc-2018-1209498 </ref>, and, of course, the original 1980's show. == Creators == Not only does ''She-Ra'' tell important queer and minority-specific stories; those stories are also told by the represented people themselves. Series creator and show runner ND Stevenson, for example, is nonbinary and transmasculine, and only one member of the principal voice cast is white. Furthermore, the writer's room was made up of exclusively women, a rarity in the television industry. <ref> https://www.nytimes.com/2018/11/01/arts/television/she-ra-netflix-dreamworks-animation.html </ref> == Queer Representation == Straight, cis people are definitely in the minority on ''She-Ra.'' Many characters are explicitly shown to be queer, while others are heavily coded, with explicit confirmation coming from the creators outside the context of the show. Stevenson has gone on record saying the queer relationship between protagonist Adora and her childhood best friend turned nemesis Catra is the "climax of the entire show." <ref> https://www.vanityfair.com/hollywood/2021/03/raya-and-the-last-dragon-kelly-marie-tran-gay-namaari-raya </ref> Five seasons of friends to enemies to allies and everything in between culminate with a mutual love confession and on-screen kiss, which was revolutionary for children's media at the time. However, there are several other, much less tumultuous, queer relationships featured in the show as well. Spinnerella and Netossa, for example, two of the ensemble princess cast members, are established as being married in the first season, and while not much is done with that initially, season five features an emotional plot line in which Spinnerella has fallen under the mind control of Horde Prime, the ultimate big bad of the series, and Netossa must do everything in her power to save her. Additionally, Bow, one of the main trio and the only male character in the principal cast, introduces his parents in a season two episode: their names are Lance and George, and they're a happily married gay couple. There's also representation for non-cisnormative gender identities, particularly in one character named Double Trouble. Double Trouble, voiced by non-binary voice actor Jacob Tobia, is a shape shifter who uses they/them pronouns and completely defies gender norms, not hesitating to take any form, regardless of gender, and disregarding heteronormative behavior when in their natural form. None of that is to mention the confirmation given by the creators about gender and sexual identity. For example, Perfuma, another of the ensemble princesses, was confirmed by character designer Ray Geiger to have been drawn as a trans woman, <ref> https://web.archive.org/web/20200701145447/https://raegeii.tumblr.com/post/618934327237099521/heya-i-was-just-curious-and-feel-free-to-ignore </ref> and Bow and Glimmer were confirmed by Stevenson to be "definitely not straight," which many fans interpreted to mean bisexual. <ref> https://www.youtube.com/watch?v=zOFJHXBGDoc&t=3h33m10s </ref> Additionally, when asked what a large rainbow was supposed to symbolize in the season one finale, Stevenson said, "the gay agenda." <ref> https://www.nerdologues.com/podcasts/she-ra-progressive-power/episodes/battle-bright-moon-noelle-stevenson </ref> == Reception == As always happens with shows that push the status quo with their representation ( == References == <references/> 1e8a7b5dead02c3b4067f9ff4e4edddb5f77129d 499 498 2022-10-26T16:41:32Z 9thSaturn 4 wikitext text/x-wiki ''She-Ra and the Princesses of Power'' is a Netflix Original reboot of the beloved 80's ''He-Man'' spinoff of the same name. It ran for five seasons and a total of 52 episodes, stretching between 2018 and 2020. From the beginning, show runner ND Stevenson's goal was to not only contribute to but actively forward representation in children's media with this project. The show follows Adora, a defected soldier of the Horde, Glimmer, the daughter of the leader of the resistance, and Bow, Glimmer's childhood best friend as they try to reignite a resistance against the Horde and do battle against Catra, Adora's best friend in the army who was embittered by her leaving. == Development == One of the first major decisions made early in the show's development was that He-Man, an integral character to the 80's show, would not make an appearance. This was because it was important to the creators that She-Ra develop as her own character, no man awakening her destiny for her required. <ref> https://www.bustle.com/p/why-isnt-he-man-in-she-ra-the-princesses-of-power-adora-is-in-charge-of-her-own-destiny-13105375 </ref> ND Stevenson cited [[Queer Representation in Steven Universe|''Steven Universe'']] as a direct influence on the nature of the show's queer representation. He also said inspiration was taken from magical girl animes, Dungeons & Dragons <ref> https://www.newsweek.com/she-ra-netflix-release-noelle-stevenson-nycc-2018-1209498 </ref>, and, of course, the original 1980's show. == Creators == Not only does ''She-Ra'' tell important queer and minority-specific stories; those stories are also told by the represented people themselves. Series creator and show runner ND Stevenson, for example, is nonbinary and transmasculine, and only one member of the principal voice cast is white. Furthermore, the writer's room was made up of exclusively women, a rarity in the television industry. <ref> https://www.nytimes.com/2018/11/01/arts/television/she-ra-netflix-dreamworks-animation.html </ref> == Queer Representation == Straight, cis people are definitely in the minority on ''She-Ra.'' Many characters are explicitly shown to be queer, while others are heavily coded, with explicit confirmation coming from the creators outside the context of the show. Stevenson has gone on record saying the queer relationship between protagonist Adora and her childhood best friend turned nemesis Catra is the "climax of the entire show." <ref> https://www.vanityfair.com/hollywood/2021/03/raya-and-the-last-dragon-kelly-marie-tran-gay-namaari-raya </ref> Five seasons of friends to enemies to allies and everything in between culminate with a mutual love confession and on-screen kiss, which was revolutionary for children's media at the time. However, there are several other, much less tumultuous, queer relationships featured in the show as well. Spinnerella and Netossa, for example, two of the ensemble princess cast members, are established as being married in the first season, and while not much is done with that initially, season five features an emotional plot line in which Spinnerella has fallen under the mind control of Horde Prime, the ultimate big bad of the series, and Netossa must do everything in her power to save her. Additionally, Bow, one of the main trio and the only male character in the principal cast, introduces his parents in a season two episode: their names are Lance and George, and they're a happily married gay couple. There's also representation for non-cisnormative gender identities, particularly in one character named Double Trouble. Double Trouble, voiced by non-binary voice actor Jacob Tobia, is a shape shifter who uses they/them pronouns and completely defies gender norms, not hesitating to take any form, regardless of gender, and disregarding heteronormative behavior when in their natural form. None of that is to mention the confirmation given by the creators about gender and sexual identity. For example, Perfuma, another of the ensemble princesses, was confirmed by character designer Ray Geiger to have been drawn as a trans woman, <ref> https://web.archive.org/web/20200701145447/https://raegeii.tumblr.com/post/618934327237099521/heya-i-was-just-curious-and-feel-free-to-ignore </ref> and Bow and Glimmer were confirmed by Stevenson to be "definitely not straight," which many fans interpreted to mean bisexual. <ref> https://www.youtube.com/watch?v=zOFJHXBGDoc&t=3h33m10s </ref> Additionally, when asked what a large rainbow was supposed to symbolize in the season one finale, Stevenson said, "the gay agenda." <ref> https://www.nerdologues.com/podcasts/she-ra-progressive-power/episodes/battle-bright-moon-noelle-stevenson </ref> == Reception == As always happens with shows that push the status quo with their representation (see the pushback against a new Scooby Doo project canonizing Velma as sapphic), She-Ra got a lot of criticism and a lot of praise, usually for exactly the same things. For example, before the show even began airing, pictures of the updated She-Ra character design were released, and many felt she had been deliberately made less sexy, with her bustier and mini skirt being replaced by a high-necked romper and her doll-like proportions being much less exaggerated and more realistic. However, the majority consensus was that this was a good thing, and it called into question why it was so important for the main character of a children's cartoon to so staunchly perpetuate beauty standards in the first place. <ref> https://www.vox.com/2018/7/18/17585950/she-ra-redesign-controversy-netflix </ref> It's worth noting that while Adora is still a very thin/socially acceptably in-shape character, albeit a more realistically proportioned one, the show is still very committed to body positivity. It makes sense for Adora's character to be in perfect shape; when the series picks up, she's the apex predator of the Horde's army, with a lot emotionally riding on her maintaining that status. But there are numerous characters representing plus-sized and mid-sized bodies--Glimmer, Netossa, and Mermista come to mind among several others. <ref> https://www.nytimes.com/2018/11/01/arts/television/she-ra-netflix-dreamworks-animation.html </ref> Other criticism was more focused around specific characters or plot points. For example, while the character of Double Trouble is beloved by many fans for their chaotic energy and theatrical dialogue, some fans took issue with the show's nonbinary character being a villain whose gender nonconformity was used for devious purposes and conflated with their foreign, alien nature. Stevenson apologized for portraying the character in that way, fully acknowledging and owning up to that interpretation. <ref> https://www.insider.com/queer-women-transgender-nonbinary-kids-animation-cartoons-2021-6 </ref> Overall, though, ''She-Ra'' was critically acclaimed, especially in its fifth and final season, which has a 100% on Rotten Tomatoes. <ref> https://www.rottentomatoes.com/tv/she_ra_and_the_princesses_of_power/s05 </ref> The show was nominated for thirteen awards across two years, and it won several of those, including the GLAAD Media Award for Outstanding Kids & Family Programming <ref> https://en.wikipedia.org/wiki/She-Ra_and_the_Princesses_of_Power#cite_note-98 </ref> and a Daytime Emmy. <ref> https://en.wikipedia.org/wiki/She-Ra_and_the_Princesses_of_Power#cite_note-95 </ref> Dozens of publications praised it for the way it pushed the boundaries of representation in children's media, and just for being an excellent and enjoyable show for children and adults alike. == References == <references/> 5abdba00dcb17274cd59617ba4a834023d271520 0 57 505 440 2022-10-26T19:08:15Z Brwilson1 12 /* References */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]] b175d9759c337b8ebf7482b62f42d2c8955740fe 0 57 507 505 2022-10-26T19:09:02Z Brwilson1 12 /* Impact in Media */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded (Powers). Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” ("Lemonade Mouth") All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]] 5504fff83b4831f0f96e12c409de32f2d65abaaa 508 507 2022-10-26T19:09:40Z Brwilson1 12 /* References */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded (Powers). Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” ("Lemonade Mouth") All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]] c70095712299ab8ed16378d442b538cb4b36c6d8 509 508 2022-10-26T19:11:38Z Brwilson1 12 /* Impact in Media */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded[[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]]. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” [[https://disney.fandom.com/wiki/Lemonade_Mouth]] All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]] a46a2c0a0ba141157cf9341e860263abc7edac03 510 509 2022-10-26T19:12:08Z Brwilson1 12 /* Impact in Media */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” [https://disney.fandom.com/wiki/Lemonade_Mouth] All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]] f12514ca06f0d7e4667178e808cea8da8448976a 511 510 2022-10-26T19:13:12Z Brwilson1 12 /* She’s So Gone */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found [https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” [https://disney.fandom.com/wiki/Lemonade_Mouth] All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]] 3f360434cfd9f2e3374779c97e93b2b364f6856a 512 511 2022-10-26T19:14:27Z Brwilson1 12 /* Queer Coding of Stella */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life[https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview]. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found [https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” [https://disney.fandom.com/wiki/Lemonade_Mouth] All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]] f1c03cbb03c9f0c9ad9b2aafd8e0a4ad48419e96 513 512 2022-10-26T19:14:58Z Brwilson1 12 /* Plot */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends [ https://disney.fandom.com/wiki/Lemonade_Mouth]. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life[https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview]. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found [https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” [https://disney.fandom.com/wiki/Lemonade_Mouth] All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]] 4713d4df72f4cb543762912704039cc6bc645dda 514 513 2022-10-26T19:16:07Z Brwilson1 12 /* For Further Reading: */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends [ https://disney.fandom.com/wiki/Lemonade_Mouth]. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life[https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview]. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found [https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” [https://disney.fandom.com/wiki/Lemonade_Mouth] All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]] [[Queer Coding in Descendants]] [[Queer Coding in High School Musical]] 58746069235f3ff8929f3e550c5859935110ef1a 515 514 2022-10-26T19:16:26Z Brwilson1 12 /* For Further Reading: */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends [ https://disney.fandom.com/wiki/Lemonade_Mouth]. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life[https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview]. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found [https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection (3).” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” [https://disney.fandom.com/wiki/Lemonade_Mouth] All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]], [[Queer Coding in Descendants]], [[Queer Coding in High School Musical]], 423cc8f0c66378e7607e6abc497b435465b74171 516 515 2022-10-26T19:18:09Z Brwilson1 12 /* Impact in Media */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends [ https://disney.fandom.com/wiki/Lemonade_Mouth]. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life[https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview]. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found [https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. </ref>.” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded<ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” <ref>[https://disney.fandom.com/wiki/Lemonade_Mouth]</ref> All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]], [[Queer Coding in Descendants]], [[Queer Coding in High School Musical]], eabd499a1d035000916f9b5e5c7ec54bc8adaa8d 517 516 2022-10-26T19:19:02Z Brwilson1 12 /* She’s So Gone */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends [ https://disney.fandom.com/wiki/Lemonade_Mouth]. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life[https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview]. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found <ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. </ref>.” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded<ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” <ref>[https://disney.fandom.com/wiki/Lemonade_Mouth]</ref> All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]], [[Queer Coding in Descendants]], [[Queer Coding in High School Musical]], bbb5d8f5da319e5998f775b43a70a9380bed7b15 518 517 2022-10-26T19:19:47Z Brwilson1 12 /* Queer Coding of Stella */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends [ https://disney.fandom.com/wiki/Lemonade_Mouth]. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life<ref>[https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview]</ref>. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found <ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. </ref>.” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded<ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” <ref>[https://disney.fandom.com/wiki/Lemonade_Mouth]</ref> All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]], [[Queer Coding in Descendants]], [[Queer Coding in High School Musical]], daf676c659fa5b62862e3387ade22e1efc5abfa2 519 518 2022-10-26T19:20:22Z Brwilson1 12 /* Plot */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends <ref>https://disney.fandom.com/wiki/Lemonade_Mouth</ref>. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life<ref>[https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview]</ref>. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found <ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. </ref>.” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded<ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” <ref>[https://disney.fandom.com/wiki/Lemonade_Mouth]</ref> All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]], [[Queer Coding in Descendants]], [[Queer Coding in High School Musical]], 92c6a619c303ca84d99f964c6ecd67f3a2957495 520 519 2022-10-26T19:22:12Z Brwilson1 12 wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends <ref>https://disney.fandom.com/wiki/Lemonade_Mouth</ref>. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life<ref>[https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview]</ref>. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found <ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. </ref>.” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded<ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” <ref>[https://disney.fandom.com/wiki/Lemonade_Mouth]</ref> All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. ==For Further Reading:== [[Queer Coding in Pitch Perfect]], [[Queer Coding]], [[Queer Coding in Descendants]], [[Queer Coding in High School Musical]] == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. eb1cf189a9e341ce44edfe1645bd8ec02f9830a1 521 520 2022-10-26T19:23:40Z Brwilson1 12 /* For Further Reading: */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends <ref>https://disney.fandom.com/wiki/Lemonade_Mouth</ref>. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life<ref>[https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview]</ref>. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found <ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. </ref>.” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded<ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” <ref>[https://disney.fandom.com/wiki/Lemonade_Mouth]</ref> All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. ==For Further Reading== [[Queer Coding in Pitch Perfect]], [[Queer Coding]], [[Queer Coding in Descendants]], [[Queer Coding in High School Musical]] == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. 60bab1929b93aa0c225372fc7bb0b08f4975c2f5 522 521 2022-10-26T19:44:07Z Brwilson1 12 /* Impact in Media */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends <ref>https://disney.fandom.com/wiki/Lemonade_Mouth</ref>. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life<ref>[https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview]</ref>. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found <ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. </ref>.” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded<ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.<ref>https://twitter.com/filmsbygays/status/1574324263036723200</ref>” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” <ref>[https://www.tumblr.com/search/lemonade%20mouth%20queer]</ref> All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. ==For Further Reading== [[Queer Coding in Pitch Perfect]], [[Queer Coding]], [[Queer Coding in Descendants]], [[Queer Coding in High School Musical]] == References == blue_charles. “Queering ‘She's so Gone’: Making Lemonade Mouth Gayer in Honor of Hayley Kiyoko.” Measured., 15 Apr. 2018, https://measureddot.wordpress.com/2018/04/12/queering-shes-so-gone-making-lemonade-mouth-gayer-in-honor-of-hayley-kiyoko/. Factora, James. “Hayley Kiyoko Didn't Realize She Was ‘Lesbian Jesus’ at First.” Them, Them., 18 Aug. 2022, https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview. “Lemonade Mouth.” Disney Wiki, https://disney.fandom.com/wiki/Lemonade_Mouth. Powers, Eliza. “Opinion: Queer Representation Doesn't Always Look The Way You Expect.” The Student Life, 11 Mar. 2022, https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. 5af871c492bb21d775cff9470fe82665d182a122 523 522 2022-10-26T19:44:38Z Brwilson1 12 /* References */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends <ref>https://disney.fandom.com/wiki/Lemonade_Mouth</ref>. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life<ref>[https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview]</ref>. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found <ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. </ref>.” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded<ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.<ref>https://twitter.com/filmsbygays/status/1574324263036723200</ref>” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” <ref>[https://www.tumblr.com/search/lemonade%20mouth%20queer]</ref> All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. ==For Further Reading== [[Queer Coding in Pitch Perfect]], [[Queer Coding]], [[Queer Coding in Descendants]], [[Queer Coding in High School Musical]] == References == ba6f11a105527dd4070d28f0f7895dd79ae75ccd 524 523 2022-10-26T19:46:39Z Brwilson1 12 /* Queer Coding of Stella */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends <ref>https://disney.fandom.com/wiki/Lemonade_Mouth</ref>. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life <ref>https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview</ref>. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found <ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. </ref>.” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded<ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.<ref>https://twitter.com/filmsbygays/status/1574324263036723200</ref>” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” <ref>[https://www.tumblr.com/search/lemonade%20mouth%20queer]</ref> All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. ==For Further Reading== [[Queer Coding in Pitch Perfect]], [[Queer Coding]], [[Queer Coding in Descendants]], [[Queer Coding in High School Musical]] == References == 0f4b18e1933231c0c5e42088fb01043e399081f0 525 524 2022-10-26T19:47:14Z Brwilson1 12 /* She’s So Gone */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends <ref>https://disney.fandom.com/wiki/Lemonade_Mouth</ref>. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life <ref>https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview</ref>. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/</ref>. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. </ref>.” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded<ref>[https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/]</ref>. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.<ref>https://twitter.com/filmsbygays/status/1574324263036723200</ref>” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” <ref>[https://www.tumblr.com/search/lemonade%20mouth%20queer]</ref> All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. ==For Further Reading== [[Queer Coding in Pitch Perfect]], [[Queer Coding]], [[Queer Coding in Descendants]], [[Queer Coding in High School Musical]] == References == 14bb69a17b9e6e9e603775b8ee79904f118723e1 526 525 2022-10-26T19:47:39Z Brwilson1 12 /* Impact in Media */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends <ref>https://disney.fandom.com/wiki/Lemonade_Mouth</ref>. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life <ref>https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview</ref>. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/</ref>. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. </ref>.” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded<ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/</ref>. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.<ref>https://twitter.com/filmsbygays/status/1574324263036723200</ref>” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” <ref>https://www.tumblr.com/search/lemonade%20mouth%20queer</ref> All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. ==For Further Reading== [[Queer Coding in Pitch Perfect]], [[Queer Coding]], [[Queer Coding in Descendants]], [[Queer Coding in High School Musical]] == References == d960de6ef2a471e9f46e3aca3d080604290aced4 529 526 2022-10-26T19:53:00Z Brwilson1 12 /* Impact in Media */ wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends <ref>https://disney.fandom.com/wiki/Lemonade_Mouth</ref>. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life <ref>https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview</ref>. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/</ref>. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. </ref>.” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded<ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/</ref>. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.<ref>https://twitter.com/filmsbygays/status/1574324263036723200</ref>” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” <ref>https://lgbtdisneyheadcanons.tumblr.com/post/136321751461/670-stella-yamada-is-biromantic-and-bisexual</ref> All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. ==For Further Reading== [[Queer Coding in Pitch Perfect]], [[Queer Coding]], [[Queer Coding in Descendants]], [[Queer Coding in High School Musical]] == References == 9d4ff7d3f7ca306c2d8089307fc0d9f92636ef3e 0 58 527 506 2022-10-26T19:51:20Z 138.237.15.108 0 /* Mal */ wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Relationships== ===Mal and Evie=== romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl Evie is the businesswoman and Doug is her assistant ===Harry and Gil=== removed supposed gay kiss ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.” Though Mal is canonically not bisexual (since Cameron simply plays a character, not write a script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. Following the beginning of Ben and Mal's relationship, she begins dating Chad in hopes of making Ben jealous. In the second movie, Audrey has dumped Chad. ===Harry=== Removed same sex kiss/wears makeup ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Actors/Actresses== ===Dove Cameron=== identifies as bi and queer ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== bae92b2edab86e9768c7a6769dce27038ee135dd 528 527 2022-10-26T19:51:56Z 138.237.15.108 0 wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.” Though Mal is canonically not bisexual (since Cameron simply plays a character, not write a script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. Following the beginning of Ben and Mal's relationship, she begins dating Chad in hopes of making Ben jealous. In the second movie, Audrey has dumped Chad. ===Harry=== Removed gay kiss/wears makeup ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In Relationships== ===Mal and Evie=== Of the relationships mentioned in this article, “Malvie” is the most romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl ===Harry and Gil=== removed supposed gay kiss ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Actors/Actresses== ===Dove Cameron=== identifies as bi and queer ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 7b8ebda9cc9a26a64743a513d14591e6bb60afc4 530 528 2022-10-26T19:53:07Z 138.237.15.108 0 /* Mal */ wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not write a script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. Following the beginning of Ben and Mal's relationship, she begins dating Chad in hopes of making Ben jealous. In the second movie, Audrey has dumped Chad. ===Harry=== Removed gay kiss/wears makeup ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In Relationships== ===Mal and Evie=== Of the relationships mentioned in this article, “Malvie” is the most romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl ===Harry and Gil=== removed supposed gay kiss ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Actors/Actresses== ===Dove Cameron=== identifies as bi and queer ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 1319ef399388b3f5b2c861048113b3822c12cb52 531 530 2022-10-26T19:53:43Z 138.237.15.108 0 /* Mal */ wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. Following the beginning of Ben and Mal's relationship, she begins dating Chad in hopes of making Ben jealous. In the second movie, Audrey has dumped Chad. ===Harry=== Removed gay kiss/wears makeup ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In Relationships== ===Mal and Evie=== Of the relationships mentioned in this article, “Malvie” is the most romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl ===Harry and Gil=== removed supposed gay kiss ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Actors/Actresses== ===Dove Cameron=== identifies as bi and queer ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 0f187c29aa9085a6fc1bac0b39a8657007670c61 532 531 2022-10-26T20:09:13Z 138.237.15.11 0 /* Actors/Actresses */ wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. Following the beginning of Ben and Mal's relationship, she begins dating Chad in hopes of making Ben jealous. In the second movie, Audrey has dumped Chad. ===Harry=== Removed gay kiss/wears makeup ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In Relationships== ===Mal and Evie=== Of the relationships mentioned in this article, “Malvie” is the most romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl ===Harry and Gil=== removed supposed gay kiss ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== c35e0eed2faca7f86fa753624b17d1ba2bd3679f 536 532 2022-10-26T21:32:46Z 138.237.15.11 0 /* Audrey */ wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Removed gay kiss/wears makeup ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In Relationships== ===Mal and Evie=== Of the relationships mentioned in this article, “Malvie” is the most romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl ===Harry and Gil=== removed supposed gay kiss ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== aab057cd48f586387d8f0f172193aa9aebe76855 553 536 2022-10-27T17:35:08Z 138.237.15.102 0 /* Harry */ wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In Relationships== ===Mal and Evie=== Of the relationships mentioned in this article, “Malvie” is the most romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl ===Harry and Gil=== removed supposed gay kiss ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 7504a7e1c3ebeb5067f708cbc056dd3e8a938e5f 554 553 2022-10-27T17:44:26Z 138.237.15.102 0 /* In Relationships */ wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In Relationships== ===Mal and Evie=== Of the relationships mentioned in this article, “Malvie” is the most romantically queer Dove C said Mal definitely crushed on her ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 8496464b7a675f13bcde4122a1570e87ef46b679 555 554 2022-10-27T18:07:36Z 138.237.15.102 0 /* Mal and Evie */ wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 070cf6b98534c1b809cfc2ea4bd5f31ccd428ba3 556 555 2022-10-27T18:17:18Z 138.237.15.102 0 /* Mal and Ben */ wikitext text/x-wiki ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 6f498e88e99f5be735896239de9caf2c121418f9 0 62 533 468 2022-10-26T20:31:22Z Schilds 7 wikitext text/x-wiki Steven Universe is a children’s show that ran on Cartoon Network from 2013-2019 and was revolutionary in its queer representation. Through blatant queerness and subtle references, this show radiates queerness in every aspect. Steven Universe constantly queers expectations, from big ways to small ways. In this wiki we will discuss some of the many queer representations and some of the ways Steven Universe queers our thinking. === Rose and Pearl === Pearl was in love with the late Rose, the protagonist’s mother, and had a hard time accepting her relationship with Steven’s father and her subsequent death. This is most memorable in the song “It’s Over, Isn’t It”. Pearl says, “I was fine when you came, And we fought like it was all some silly game, Over her, who she'd choose, After all those years, I never thought I'd lose…You won, and she chose you, and she loved you, and she's gone, It's over, isn't it? Why can't I move on?” This demonstrates how Pearl can’t move on from her love for Rose, even though she knows she was not chosen and Rose is now dead. Pearl had an unhealthy relationship towards Rose, punctuated by possessiveness, jealousy, and obsession. In the song “Do it For Her”, Pearl sings,”When you live for someone [Rose], you’re prepared to die”. This accentuates her blind love and devotion to Rose. There is also an interesting relation to power in this relationship. Rose was the leader of the rebellion group the Crystal Gems, which Pearl was a part of as Rose’s second-in-command. This put her in a lower power position than Rose. Another way the power dynamic is evident is the fact that Pearl is a pearl, a class of gems whose purpose is to be servants to the upper class of gems. Rose is a diamond, the highest class of gems, although she is disguised as a rose quarts. Pearl was Rose’s personal servant, as shown in the episode “A Single Pale Rose”. This also puts her in a position of low power in comparison to Rose. It raises the question of how much her devotion was caused by love and how much was caused by the power dynamic that she had been forced into from birth. Does Pearl adore Rose because Rose is her master and it's expected, or does she truly love her? Is it love or is Pearl simply unable to detach herself from the power structure of her home world? === Ruby and Sapphire === Ruby and Sapphire are a married lesbian couple in the show, and Steven Universe made history with them by showing the first same-sex proposal and marriage on a kid’s show. The character Garnet is a fusion of these characters and represents their relationship, singing in the episode “Jail Break”, “Go ahead and try to hit me if you're able. Can't you see that my relationship is stable? I can see you hate the way we intermingle. But I think you're just mad 'cause you're single. I am their fury, I am their patience, I am a conversation. I am made o-o-o-o-of lo-o-o-o-ove. (of love)”. This quote shows how Garnet is an embodiment of Ruby and Sapphire’s relationship. For more on fusion, see section Stevonnie. Although, censorship posed a problem for the couple. The show, or certain episodes of it, has been banned in Kenya, Russia, Sweden, Malaysia and other markets entirely due to its LGBT themes. Ruby, who presents more masculine, is portrayed as a boy in some markets to force the relationship into heterosexual territory. For the wedding, in order to overcome this hurdle and make the couple read undeniably queer, they put Ruby in a wedding dress and Sapphire in a suit. Although clothing has no gender, dresses are associated with feminine presentation and suits with masculine presentation. Thus, for the more masculine presenting character, Ruby, to dress in a stereotypically feminine way and the more feminine presenting character, Sapphire, to dress stereotypically masculine is queering the viewer’s expectations and disrupting heteronormativity. This was a great way to get around the censorship of queerness in the show. For more information on lesbian representation in children’s media, see Velma. === Stevonnie === Stevonnie is a fusion of Steven and Connie introduced in the season 1 episode “Alone Together”. Garnet describes fusion to them as such,”You are not two people and you are not one person. You... are an experience! Make sure it's a good experience. Now go... have... fun!” This queers relationships in a new way, blurring boundaries between where one person starts and another ends. It describes relationships as an experience, which brings to the forefront of our perception the impermanence and fluidity of relationships. Relationships shift and change with time, and sometimes they end. By describing relationships as an experience, it allows us to think of relationships in a new way. As a fusion, their personality is a mix of both characters. They have the logic and anxiety of Connie and the friendliness and anger of Steven. Whenever stressed, one of the character’s personalities will become more prevalent. This is seen when Stevonnie has a panic attack during a rave, which is traced back to Connie’s personality. In terms of appearance, Stevonnie presents androgynously. They are tall and stocky, occasionally have facial hair, have long hair and wear shorts and a crop top. Although no physical trait is exclusive to one gender, there are traits commonly associated with them. The mixing of these expected masculine and feminine physical traits creates an androgyny. Both male and female characters show attractions towards them throughout the show, such as the characters Lars and Sadie. Stevonnie is nonbinary and intersex. They are one of the few nonbinary characters in children’s media, their only notable contemporaries being Double Trouble from She-Ra and the Princesses of Power and Raine Whispers from The Owl House. Also notable is that Stevonnie was likely the first nonbinary character in children’s animation as well as the first intersex one. === Fluorite === Fluorite, a character introduced in the episode “Off Colors”, represents polyamorous relationships. She is a fusion of 6 different gems, and says more are welcome to join, saying, “Maybe more [Gems], if we meet the right Gem.” Fluorite is an outcast in her homeworld due to how she uses fusion. Fusion of multiple gems is typically reserved for combat purposes, yet in Fluorite and the character Garnet’s case, it is the way they choose to exist in their romantic relationships. Fusion merges two characters into one person, allowing both to exist as a new, unique entity representative of the relationship of the characters. It's no wonder Fluorite and Garnet choose to stay fused thinking of it this way. There is few instances of polyamorous representation in animation, some examples being only highly suggested and not evident, as with Rogelio, Kyle, and Lonnie from She-Ra and the Princesses of Power. Other examples include La’gaan, Coral, and Rodin from Young Justice, and Tree Trunks, Mr. Pig and her alien husband in Adventure Time. Polyamorous representation is much more subtle in these shows, likely because it is still relatively nonormative. Queerness is becoming more acceptable, but polyamory is still taboo in mainstream media. It is viewed as promiscuous in America, as queerness is still viewed in some countries, as evidenced with the censorship of Steven Universe (see section Ruby and Sapphire). Another common criticism of polyamory which may relate to its scarcity in media is the idea that children are best raised in a two parent home. Ben Shapiro, a conservative influencer, when asked why monogamy is the best option, responds,”Because all societies are built on the healthy bearing and rearing of children, and the most valuable form of the bearing and rearing of child is mother and father in the home with the biological child that they have sired”. This shows that the world has yet to expand its idea of what makes a good home for a child and is stuck in a heteronormative, monogomous fantasy. The way Fluorite is treated in Steven Universe mirrors this reality; she is labeled an outcast and is forced into hiding with other outcast gems, the ‘Off Colors’. Interestingly, Fluorite’s polyamory is never explicitly stated in the show, only hinted at. Although, creator Rebecca Sugar has confirmed that Fluorite is in a polyamouous relationship at a panel at the San Diego Comic-Con in 2017. Whether this decision to maintain subtlety was a choice or a product of censorship from Cartoon Network, we may never know, but is an important question to consider. Its subteness could further show society’s unease towards polyamory. === References: === Cao, Caroline. “'Steven Universe': 5 Ways This Kids Show Was Queer before Its Lesbian Kiss.” IndieWire, IndieWire, 13 July 2018, https://www.indiewire.com/2018/07/steven-universe-queer-rebecca-sugar-1201983866/. <br> Mihailova, Mihaela. “Drawn (to) Independence: Female Showrunners in Contemporary American TV Animation.” Feminist Media Studies, vol. 19, no. 7, Nov. 2019, pp. 1009–1025. EBSCOhost, doi:10.1080/14680777.2019.1667065. <br> Representation in Steven Universe, edited by John R. Ziegler, and Leah Richards, Springer International Publishing AG, 2020. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/TCU/detail.action?docID=6012264. <br> “Fluorite.” Steven Universe Wiki, https://steven-universe.fandom.com/wiki/Fluorite. <br> “Garnet.” Steven Universe Wiki, https://steven-universe.fandom.com/wiki/Garnet. <br> “Stevonnie.” Steven Universe Wiki, https://steven-universe.fandom.com/wiki/Stevonnie. <br> Shapiro, Ben. “No, You Shouldn't Be in a Polyamorous Relationship.” YouTube, YouTube, 13 Oct. 2022, https://www.youtube.com/shorts/B3Xm_Aw_cTQ. 42983661e2c2834d677fde7f2adc032c6a543d1d 534 533 2022-10-26T21:22:30Z 138.237.26.124 0 wikitext text/x-wiki Steven Universe is a children’s show that ran on Cartoon Network from 2013-2019 and was revolutionary in its queer representation. Through blatant queerness and subtle references, this show radiates queerness in every aspect. Steven Universe constantly queers expectations, from big ways to small ways. In this wiki we will discuss some of the many queer representations and some of the ways Steven Universe queers our thinking. === Rose and Pearl === Pearl was in love with the late Rose, the protagonist’s mother, and had a hard time accepting her relationship with Steven’s father and her subsequent death. This is most memorable in the song “It’s Over, Isn’t It”. Pearl says, “I was fine when you came, And we fought like it was all some silly game, Over her, who she'd choose, After all those years, I never thought I'd lose…You won, and she chose you, and she loved you, and she's gone, It's over, isn't it? Why can't I move on?” This demonstrates how Pearl can’t move on from her love for Rose, even though she knows she was not chosen and Rose is now dead. Pearl had an unhealthy relationship towards Rose, punctuated by possessiveness, jealousy, and obsession. In the song “Do it For Her”, Pearl sings,”When you live for someone [Rose], you’re prepared to die”. This accentuates her blind love and devotion to Rose. There is also an interesting relation to power in this relationship. Rose was the leader of the rebellion group the Crystal Gems, which Pearl was a part of as Rose’s second-in-command. This put her in a lower power position than Rose. Another way the power dynamic is evident is the fact that Pearl is a pearl, a class of gems whose purpose is to be servants to the upper class of gems. Rose is a diamond, the highest class of gems, although she is disguised as a rose quarts. Pearl was Rose’s personal servant, as shown in the episode “A Single Pale Rose”. This also puts her in a position of low power in comparison to Rose. It raises the question of how much her devotion was caused by love and how much was caused by the power dynamic that she had been forced into from birth. Does Pearl adore Rose because Rose is her master and it's expected, or does she truly love her? Is it love or is Pearl simply unable to detach herself from the power structure of her home world? === Ruby and Sapphire === Ruby and Sapphire are a married lesbian couple in the show, and Steven Universe made history with them by showing the first same-sex proposal and marriage on a kid’s show. The character Garnet is a fusion of these characters and represents their relationship, singing in the episode “Jail Break”, “Go ahead and try to hit me if you're able. Can't you see that my relationship is stable? I can see you hate the way we intermingle. But I think you're just mad 'cause you're single. I am their fury, I am their patience, I am a conversation. I am made o-o-o-o-of lo-o-o-o-ove. (of love)”. This quote shows how Garnet is an embodiment of Ruby and Sapphire’s relationship. For more on fusion, see section Stevonnie. Although, censorship posed a problem for the couple. The show, or certain episodes of it, has been banned in Kenya, Russia, Sweden, Malaysia and other markets entirely due to its LGBT themes. Ruby, who presents more masculine, is portrayed as a boy in some markets to force the relationship into heterosexual territory. For the wedding, in order to overcome this hurdle and make the couple read undeniably queer, they put Ruby in a wedding dress and Sapphire in a suit. Although clothing has no gender, dresses are associated with feminine presentation and suits with masculine presentation. Thus, for the more masculine presenting character, Ruby, to dress in a stereotypically feminine way and the more feminine presenting character, Sapphire, to dress stereotypically masculine is queering the viewer’s expectations and disrupting heteronormativity. This was a great way to get around the censorship of queerness in the show. For more information on lesbian representation in children’s media, see Velma. === Stevonnie === Stevonnie is a fusion of Steven and Connie introduced in the season 1 episode “Alone Together”. Garnet describes fusion to them as such,”You are not two people and you are not one person. You... are an experience! Make sure it's a good experience. Now go... have... fun!” This queers relationships in a new way, blurring boundaries between where one person starts and another ends. It describes relationships as an experience, which brings to the forefront of our perception the impermanence and fluidity of relationships. Relationships shift and change with time, and sometimes they end. By describing relationships as an experience, it allows us to think of relationships in a new way. As a fusion, their personality is a mix of both characters. They have the logic and anxiety of Connie and the friendliness and anger of Steven. Whenever stressed, one of the character’s personalities will become more prevalent. This is seen when Stevonnie has a panic attack during a rave, which is traced back to Connie’s personality. In terms of appearance, Stevonnie presents androgynously. They are tall and stocky, occasionally have facial hair, have long hair and wear shorts and a crop top. Although no physical trait is exclusive to one gender, there are traits commonly associated with them. The mixing of these expected masculine and feminine physical traits creates an androgyny. Both male and female characters show attractions towards them throughout the show, such as the characters Lars and Sadie. Stevonnie is nonbinary and intersex. They are one of the few nonbinary characters in children’s media, their only notable contemporaries being Double Trouble from She-Ra and the Princesses of Power and Raine Whispers from The Owl House. Also notable is that Stevonnie was likely the first nonbinary character in children’s animation as well as the first intersex one. === Fluorite === Fluorite, a character introduced in the episode “Off Colors”, represents polyamorous relationships. She is a fusion of 6 different gems, and says more are welcome to join, saying, “Maybe more [Gems], if we meet the right Gem.” Fluorite is an outcast in her homeworld due to how she uses fusion. Fusion of multiple gems is typically reserved for combat purposes, yet in Fluorite and the character Garnet’s case, it is the way they choose to exist in their romantic relationships. Fusion merges two characters into one person, allowing both to exist as a new, unique entity representative of the relationship of the characters. It's no wonder Fluorite and Garnet choose to stay fused thinking of it this way. There is few instances of polyamorous representation in animation, some examples being only highly suggested and not evident, as with Rogelio, Kyle, and Lonnie from She-Ra and the Princesses of Power. Other examples include La’gaan, Coral, and Rodin from Young Justice, and Tree Trunks, Mr. Pig and her alien husband in Adventure Time. Polyamorous representation is much more subtle in these shows, likely because it is still relatively nonormative. Queerness is becoming more acceptable, but polyamory is still taboo in mainstream media. It is viewed as promiscuous in America, as queerness is still viewed in some countries, as evidenced with the censorship of Steven Universe (see section Ruby and Sapphire). Another common criticism of polyamory which may relate to its scarcity in media is the idea that children are best raised in a two parent home. Ben Shapiro, a conservative influencer, when asked why monogamy is the best option, responds,”Because all societies are built on the healthy bearing and rearing of children, and the most valuable form of the bearing and rearing of child is mother and father in the home with the biological child that they have sired”<ref>Shapiro, Ben. “No, You Shouldn't Be in a Polyamorous Relationship.” YouTube, YouTube, 13 Oct. 2022, https://www.youtube.com/shorts/B3Xm_Aw_cTQ.</ref>. This shows that the world has yet to expand its idea of what makes a good home for a child and is stuck in a heteronormative, monogomous fantasy. The way Fluorite is treated in Steven Universe mirrors this reality; she is labeled an outcast and is forced into hiding with other outcast gems, the ‘Off Colors’. Interestingly, Fluorite’s polyamory is never explicitly stated in the show, only hinted at. Although, creator Rebecca Sugar has confirmed that Fluorite is in a polyamouous relationship at a panel at the San Diego Comic-Con in 2017. Whether this decision to maintain subtlety was a choice or a product of censorship from Cartoon Network, we may never know, but is an important question to consider. Its subteness could further show society’s unease towards polyamory. === References: === Cao, Caroline. “'Steven Universe': 5 Ways This Kids Show Was Queer before Its Lesbian Kiss.” IndieWire, IndieWire, 13 July 2018, https://www.indiewire.com/2018/07/steven-universe-queer-rebecca-sugar-1201983866/. <br> Mihailova, Mihaela. “Drawn (to) Independence: Female Showrunners in Contemporary American TV Animation.” Feminist Media Studies, vol. 19, no. 7, Nov. 2019, pp. 1009–1025. EBSCOhost, doi:10.1080/14680777.2019.1667065. <br> Representation in Steven Universe, edited by John R. Ziegler, and Leah Richards, Springer International Publishing AG, 2020. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/TCU/detail.action?docID=6012264. <br> “Fluorite.” Steven Universe Wiki, https://steven-universe.fandom.com/wiki/Fluorite. <br> “Garnet.” Steven Universe Wiki, https://steven-universe.fandom.com/wiki/Garnet. <br> “Stevonnie.” Steven Universe Wiki, https://steven-universe.fandom.com/wiki/Stevonnie. <br> Shapiro, Ben. “No, You Shouldn't Be in a Polyamorous Relationship.” YouTube, YouTube, 13 Oct. 2022, https://www.youtube.com/shorts/B3Xm_Aw_cTQ. b6a3352e1f92ba1f7875a17ea39c8b9ee10dc186 535 534 2022-10-26T21:22:59Z 138.237.26.124 0 /* References: */ wikitext text/x-wiki Steven Universe is a children’s show that ran on Cartoon Network from 2013-2019 and was revolutionary in its queer representation. Through blatant queerness and subtle references, this show radiates queerness in every aspect. Steven Universe constantly queers expectations, from big ways to small ways. In this wiki we will discuss some of the many queer representations and some of the ways Steven Universe queers our thinking. === Rose and Pearl === Pearl was in love with the late Rose, the protagonist’s mother, and had a hard time accepting her relationship with Steven’s father and her subsequent death. This is most memorable in the song “It’s Over, Isn’t It”. Pearl says, “I was fine when you came, And we fought like it was all some silly game, Over her, who she'd choose, After all those years, I never thought I'd lose…You won, and she chose you, and she loved you, and she's gone, It's over, isn't it? Why can't I move on?” This demonstrates how Pearl can’t move on from her love for Rose, even though she knows she was not chosen and Rose is now dead. Pearl had an unhealthy relationship towards Rose, punctuated by possessiveness, jealousy, and obsession. In the song “Do it For Her”, Pearl sings,”When you live for someone [Rose], you’re prepared to die”. This accentuates her blind love and devotion to Rose. There is also an interesting relation to power in this relationship. Rose was the leader of the rebellion group the Crystal Gems, which Pearl was a part of as Rose’s second-in-command. This put her in a lower power position than Rose. Another way the power dynamic is evident is the fact that Pearl is a pearl, a class of gems whose purpose is to be servants to the upper class of gems. Rose is a diamond, the highest class of gems, although she is disguised as a rose quarts. Pearl was Rose’s personal servant, as shown in the episode “A Single Pale Rose”. This also puts her in a position of low power in comparison to Rose. It raises the question of how much her devotion was caused by love and how much was caused by the power dynamic that she had been forced into from birth. Does Pearl adore Rose because Rose is her master and it's expected, or does she truly love her? Is it love or is Pearl simply unable to detach herself from the power structure of her home world? === Ruby and Sapphire === Ruby and Sapphire are a married lesbian couple in the show, and Steven Universe made history with them by showing the first same-sex proposal and marriage on a kid’s show. The character Garnet is a fusion of these characters and represents their relationship, singing in the episode “Jail Break”, “Go ahead and try to hit me if you're able. Can't you see that my relationship is stable? I can see you hate the way we intermingle. But I think you're just mad 'cause you're single. I am their fury, I am their patience, I am a conversation. I am made o-o-o-o-of lo-o-o-o-ove. (of love)”. This quote shows how Garnet is an embodiment of Ruby and Sapphire’s relationship. For more on fusion, see section Stevonnie. Although, censorship posed a problem for the couple. The show, or certain episodes of it, has been banned in Kenya, Russia, Sweden, Malaysia and other markets entirely due to its LGBT themes. Ruby, who presents more masculine, is portrayed as a boy in some markets to force the relationship into heterosexual territory. For the wedding, in order to overcome this hurdle and make the couple read undeniably queer, they put Ruby in a wedding dress and Sapphire in a suit. Although clothing has no gender, dresses are associated with feminine presentation and suits with masculine presentation. Thus, for the more masculine presenting character, Ruby, to dress in a stereotypically feminine way and the more feminine presenting character, Sapphire, to dress stereotypically masculine is queering the viewer’s expectations and disrupting heteronormativity. This was a great way to get around the censorship of queerness in the show. For more information on lesbian representation in children’s media, see Velma. === Stevonnie === Stevonnie is a fusion of Steven and Connie introduced in the season 1 episode “Alone Together”. Garnet describes fusion to them as such,”You are not two people and you are not one person. You... are an experience! Make sure it's a good experience. Now go... have... fun!” This queers relationships in a new way, blurring boundaries between where one person starts and another ends. It describes relationships as an experience, which brings to the forefront of our perception the impermanence and fluidity of relationships. Relationships shift and change with time, and sometimes they end. By describing relationships as an experience, it allows us to think of relationships in a new way. As a fusion, their personality is a mix of both characters. They have the logic and anxiety of Connie and the friendliness and anger of Steven. Whenever stressed, one of the character’s personalities will become more prevalent. This is seen when Stevonnie has a panic attack during a rave, which is traced back to Connie’s personality. In terms of appearance, Stevonnie presents androgynously. They are tall and stocky, occasionally have facial hair, have long hair and wear shorts and a crop top. Although no physical trait is exclusive to one gender, there are traits commonly associated with them. The mixing of these expected masculine and feminine physical traits creates an androgyny. Both male and female characters show attractions towards them throughout the show, such as the characters Lars and Sadie. Stevonnie is nonbinary and intersex. They are one of the few nonbinary characters in children’s media, their only notable contemporaries being Double Trouble from She-Ra and the Princesses of Power and Raine Whispers from The Owl House. Also notable is that Stevonnie was likely the first nonbinary character in children’s animation as well as the first intersex one. === Fluorite === Fluorite, a character introduced in the episode “Off Colors”, represents polyamorous relationships. She is a fusion of 6 different gems, and says more are welcome to join, saying, “Maybe more [Gems], if we meet the right Gem.” Fluorite is an outcast in her homeworld due to how she uses fusion. Fusion of multiple gems is typically reserved for combat purposes, yet in Fluorite and the character Garnet’s case, it is the way they choose to exist in their romantic relationships. Fusion merges two characters into one person, allowing both to exist as a new, unique entity representative of the relationship of the characters. It's no wonder Fluorite and Garnet choose to stay fused thinking of it this way. There is few instances of polyamorous representation in animation, some examples being only highly suggested and not evident, as with Rogelio, Kyle, and Lonnie from She-Ra and the Princesses of Power. Other examples include La’gaan, Coral, and Rodin from Young Justice, and Tree Trunks, Mr. Pig and her alien husband in Adventure Time. Polyamorous representation is much more subtle in these shows, likely because it is still relatively nonormative. Queerness is becoming more acceptable, but polyamory is still taboo in mainstream media. It is viewed as promiscuous in America, as queerness is still viewed in some countries, as evidenced with the censorship of Steven Universe (see section Ruby and Sapphire). Another common criticism of polyamory which may relate to its scarcity in media is the idea that children are best raised in a two parent home. Ben Shapiro, a conservative influencer, when asked why monogamy is the best option, responds,”Because all societies are built on the healthy bearing and rearing of children, and the most valuable form of the bearing and rearing of child is mother and father in the home with the biological child that they have sired”<ref>Shapiro, Ben. “No, You Shouldn't Be in a Polyamorous Relationship.” YouTube, YouTube, 13 Oct. 2022, https://www.youtube.com/shorts/B3Xm_Aw_cTQ.</ref>. This shows that the world has yet to expand its idea of what makes a good home for a child and is stuck in a heteronormative, monogomous fantasy. The way Fluorite is treated in Steven Universe mirrors this reality; she is labeled an outcast and is forced into hiding with other outcast gems, the ‘Off Colors’. Interestingly, Fluorite’s polyamory is never explicitly stated in the show, only hinted at. Although, creator Rebecca Sugar has confirmed that Fluorite is in a polyamouous relationship at a panel at the San Diego Comic-Con in 2017. Whether this decision to maintain subtlety was a choice or a product of censorship from Cartoon Network, we may never know, but is an important question to consider. Its subteness could further show society’s unease towards polyamory. === References: === Cao, Caroline. “'Steven Universe': 5 Ways This Kids Show Was Queer before Its Lesbian Kiss.” IndieWire, IndieWire, 13 July 2018, https://www.indiewire.com/2018/07/steven-universe-queer-rebecca-sugar-1201983866/. <br> Mihailova, Mihaela. “Drawn (to) Independence: Female Showrunners in Contemporary American TV Animation.” Feminist Media Studies, vol. 19, no. 7, Nov. 2019, pp. 1009–1025. EBSCOhost, doi:10.1080/14680777.2019.1667065. <br> Representation in Steven Universe, edited by John R. Ziegler, and Leah Richards, Springer International Publishing AG, 2020. ProQuest Ebook Central, https://ebookcentral.proquest.com/lib/TCU/detail.action?docID=6012264. <br> “Fluorite.” Steven Universe Wiki, https://steven-universe.fandom.com/wiki/Fluorite. <br> “Garnet.” Steven Universe Wiki, https://steven-universe.fandom.com/wiki/Garnet. <br> “Stevonnie.” Steven Universe Wiki, https://steven-universe.fandom.com/wiki/Stevonnie. <br> 7d67d147eab6db4f4ee6dfe452c8fe3e8d744827 0 61 537 488 2022-10-27T04:01:58Z Groomesdeja 19 /* High School Musical 2 (2007): The Queer Antithesis */ wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = == Troy Bolton & Gabriella Montez: Queering Expectations == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == Ryan's character as the stereotypically queer = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball == Troy Bolton & Sharpay Evans == - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside == Sharpay & Ryan Evans == - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? == You are the music in me (Sharpay Version) == =''High School Musical 3'' (2008)= == Ryan Evans & Kelsi: Re-instating the Normative == Paired up for the final film = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = a553c14db5b30af8e67bbc32a0b8c9631ec3957e 538 537 2022-10-27T04:02:21Z Groomesdeja 19 /* Troy Bolton & Sharpay Evans */ wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = == Troy Bolton & Gabriella Montez: Queering Expectations == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == Ryan's character as the stereotypically queer = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside == Sharpay & Ryan Evans == - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? == You are the music in me (Sharpay Version) == =''High School Musical 3'' (2008)= == Ryan Evans & Kelsi: Re-instating the Normative == Paired up for the final film = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 19d25694eaacd58c672a178c2ee4976212c92320 539 538 2022-10-27T04:02:33Z Groomesdeja 19 /* Sharpay & Ryan Evans */ wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = == Troy Bolton & Gabriella Montez: Queering Expectations == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == Ryan's character as the stereotypically queer = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? == You are the music in me (Sharpay Version) == =''High School Musical 3'' (2008)= == Ryan Evans & Kelsi: Re-instating the Normative == Paired up for the final film = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = e84a94696453c8354597bb2ebe34b1b0dcebf1a3 540 539 2022-10-27T04:03:04Z Groomesdeja 19 /* You are the music in me (Sharpay Version) */ wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = == Troy Bolton & Gabriella Montez: Queering Expectations == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == Ryan's character as the stereotypically queer = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3'' (2008)= == Ryan Evans & Kelsi: Re-instating the Normative == Paired up for the final film = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = b92dced2c83ae13d45c614970254171b0181bf7e 541 540 2022-10-27T04:06:04Z Groomesdeja 19 /* High School Musical (2006) */ wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = == Queering Expectations == === Troy Bolton & Gabriella Montez == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as the stereotypically queer = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3'' (2008)= == Ryan Evans & Kelsi: Re-instating the Normative == Paired up for the final film = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 89f5720ba5ac21e77b3149b505b8b53b19b29e65 542 541 2022-10-27T04:08:20Z Groomesdeja 19 /* Ryan Evans & Chad Danforth */ wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = == Queering Expectations == === Troy Bolton & Gabriella Montez == More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as the stereotypically queer = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3'' (2008)= == Ryan Evans & Kelsi: Re-instating the Normative == Paired up for the final film = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = f0962055735e5cd102436c1d36fc8e726990740a 543 542 2022-10-27T04:08:37Z Groomesdeja 19 /* High School Musical (2006) */ wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as the stereotypically queer = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3'' (2008)= == Ryan Evans & Kelsi: Re-instating the Normative == Paired up for the final film = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = bd70fbda8ef66ffd82a3418dd8e1c9f2b12f0595 544 543 2022-10-27T04:10:15Z Groomesdeja 19 /* Queer Stereotypes */ wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3'' (2008)= == Ryan Evans & Kelsi: Re-instating the Normative == Paired up for the final film = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 182ced214b8fa56c2a5dfd90bce45318272b534d 545 544 2022-10-27T04:12:29Z Groomesdeja 19 /* High School Musical 3 (2008) */ wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3'' (2008)= Small synopsis here == Re-instating the Normative == === Ryan Evans & Kelsi Carmichael === Paired up for the final film. A romance not hinted at within the first two installments = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = f2d1d468264eb98a740b8db3dede5daf55781fb0 546 545 2022-10-27T04:15:06Z Groomesdeja 19 /* High School Musical (2006) */ wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = Small synopsis here. Mention ties to Grease == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3'' (2008)= Small synopsis here == Re-instating the Normative == === Ryan Evans & Kelsi Carmichael === Paired up for the final film. A romance not hinted at within the first two installments = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = c84dc0fa8ea8376f32d606126254e6175b1e9a34 547 546 2022-10-27T04:18:10Z Groomesdeja 19 /* High School Musical 3 (2008) */ wikitext text/x-wiki Basic info here on HSM trilogy and its cultural impact. = ''High School Musical (2006)'' = Small synopsis here. Mention ties to Grease == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Carmichael === Paired up for the final film. A romance not hinted at within the first two installments = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 3e8b69424f37dcd97dac5abe4ffe4c72173920ee 548 547 2022-10-27T16:28:56Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. = ''High School Musical (2006)'' = Small synopsis here. Mention ties to Grease == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Carmichael === Paired up for the final film. A romance not hinted at within the first two installments = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = db0060dbaeb59b67ca2084eb333d0e2a32e67fc3 549 548 2022-10-27T16:32:53Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock (2010), Teen Beach Movie (2011), Descendants (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. = ''High School Musical (2006)'' = Small synopsis here. Mention ties to Grease == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Carmichael === Paired up for the final film. A romance not hinted at within the first two installments = Conclusion = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = ee366cc83d467ad722a5310cfe8afcfaeb0b61a1 550 549 2022-10-27T16:35:28Z Groomesdeja 19 /* Conclusion */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock (2010), Teen Beach Movie (2011), Descendants (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. = ''High School Musical (2006)'' = Small synopsis here. Mention ties to Grease == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Carmichael === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = a37521aa07a562b3aab5c4bdb5b61fd658147e1f 551 550 2022-10-27T16:58:19Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. = ''High School Musical (2006)'' = Small synopsis here. Mention ties to Grease == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Carmichael === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = fa9c2172ffe1bc163e54391309de1b5539db75c5 552 551 2022-10-27T17:06:47Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. = ''High School Musical (2006)'' = Small synopsis here. Mention ties to Grease == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Carmichael === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 2cb53d1c377a7bc0dffead7429380f37b8c9c41e 0 58 557 556 2022-10-27T20:02:30Z 138.237.15.102 0 wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 3d5ec551d16ae844a3a45209f447bff9fc00feb6 558 557 2022-10-27T20:04:11Z ARStallings 10 wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 67805ed26d6db6adaa8f09db728f55f850d06bfc 559 558 2022-10-27T20:04:26Z ARStallings 10 wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== b3d0b5d73271ae52e3a4894045a2b95a33a71dd4 560 559 2022-10-27T20:08:17Z ARStallings 10 /* Evie and Doug */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ===Uma=== fights against the cherry picking of people from the subaltern identities to uplift while ignoring the others ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl economically queer ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 3f963f457ee0df7e1faaa11497748dbc4dc24d4f 561 560 2022-10-27T20:09:16Z ARStallings 10 wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl economically queer ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose ==References== 9df20714f69ecb8e750619cac262f54fa4c6c4b0 562 561 2022-10-27T20:15:48Z ARStallings 10 wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl economically queer ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Descendants|Queer Coding in Descendents]] ==References== b1f8a9841c315c520b93d06ac6c313255436fe60 563 562 2022-10-27T20:16:20Z ARStallings 10 /* For Further Reading */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl economically queer ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] ==References== 9eb23a191600f3e334a2e8fa63d34c0db3e764f8 564 563 2022-10-27T20:18:37Z ARStallings 10 /* For Further Reading */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl economically queer ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] ==References== 20c190e53d7003e40d5125c3eff915dfc4fd7360 565 564 2022-10-27T20:20:04Z ARStallings 10 /* For Further Reading */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== societally queer (villain/hero) Ben is the damsel in distress who needs saving ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl economically queer ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 480dae975148c8005b6bf1e81e49e1e396c6f369 0 56 566 478 2022-10-27T20:23:12Z ARStallings 10 /* External Links */ wikitext text/x-wiki = Definitions of Queer Coding = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University "Dialogue" Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. = Examples of Queer Coding in Media = [[Queer Coding in Descendants]] <br> [[Queer Coding in Pitch Perfect]] <br> [[Queer coding in Lemonade mouth]] <br> [[Queer Coding in High School Musical]]<br> = External Links = [https://www.youtube.com/watch?v=GsO4fZYHQic The History of Queer Coding] at [https://www.youtube.com/playlist?list=PLhADVL2AiGX88GI9QGaj5oze39ihKcXwQ Jessica Kellgren-Fozard] [https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164 Queer-coded Villains (And Why You Should Care] at [https://dialogues.rutgers.edu Dialogues at Rutgers] = References = c763eec30af7ac2351058364d0fab7266bd4cd05 567 566 2022-10-27T20:23:59Z ARStallings 10 /* External Links */ wikitext text/x-wiki = Definitions of Queer Coding = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University "Dialogue" Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. = Examples of Queer Coding in Media = [[Queer Coding in Descendants]] <br> [[Queer Coding in Pitch Perfect]] <br> [[Queer coding in Lemonade mouth]] <br> [[Queer Coding in High School Musical]]<br> = External Links = [https://www.youtube.com/watch?v=GsO4fZYHQic The History of Queer Coding] at [https://www.youtube.com/playlist?list=PLhADVL2AiGX88GI9QGaj5oze39ihKcXwQ Jessica Kellgren-Fozard] [https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164 Queer-coded Villains (And Why You Should Care)] at [https://dialogues.rutgers.edu Dialogues at Rutgers] = References = 19ade8d7780d517f34e5936ae979fbdf680abcd0 0 61 568 552 2022-10-28T17:17:50Z Groomesdeja 19 /* Re-instating the Normative */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. = ''High School Musical (2006)'' = Small synopsis here. Mention ties to Grease == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielsen === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 15b35a11f0076dc64a6b12bfed1f277dc28bafc0 569 568 2022-10-28T17:30:51Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. = ''High School Musical (2006)'' = Small synopsis here. Mention ties to Grease == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === You Are The Music in Me (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielsen === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 99617dbc42465b8de5586398bac31c3cb9ee46fc 570 569 2022-10-28T17:39:21Z Groomesdeja 19 /* You Are The Music in Me (Sharpay Version) */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. = ''High School Musical (2006)'' = Small synopsis here. Mention ties to Grease == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielsen === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 8b12f82c6879870198d6c535fd49e8f20d6ed6b3 571 570 2022-10-29T21:51:23Z Groomesdeja 19 /* High School Musical (2006) */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielsen === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 49cc4f887b7c992b54c6ea5027bd361e6f98a24d 572 571 2022-10-29T22:10:19Z Groomesdeja 19 /* High School Musical (2006) */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. == Queering Expectations == === Troy Bolton & Gabriella Montez === More here on Troy and queering expectation and normativity (theatre, social circles, etc) Chad and the basketball team's. Chad and the team's fear of Troy's labeling == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielsen === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = a20b383800a9f0d898b11deb03c439e94c2295f4 573 572 2022-10-29T22:10:39Z Groomesdeja 19 /* High School Musical (2006) */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielsen === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = eb53a9b178f1411c2c1c4c07d30ca23f0d086413 574 573 2022-10-29T22:14:30Z Groomesdeja 19 /* Troy Bolton & Gabriella Montez */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielsen === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = dcd21bbaba82ee19c709b60c9821d8c1707df154 575 574 2022-10-30T04:41:46Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2 presents a queer-coded couple that is developed distinctly within this single film. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielsen === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = ffc94c7482bc55ec7d427c4e82fd426ab2a212ef 576 575 2022-10-30T04:42:36Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2 presents a queer-coded couple that is developed distinctly within this single film. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielsen === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = c01c8be2b4f6b82846fa2bd97230c177baf2faf4 577 576 2022-10-30T04:49:09Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielsen === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = bd0816d521e30a8bc84ea6195020ed76ebc106c8 578 577 2022-10-30T04:53:22Z Groomesdeja 19 /* Ryan Evans & Kelsi Nielsen */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan's character as presenting as a stereotype and very one dimensional = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = ca6509d251a32dee8a2c3f40ac8dbcf05610eaa7 579 578 2022-10-30T05:01:47Z Groomesdeja 19 /* Ryan Evans */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 8a1d5da464d1c34edfbc4385b1456c0a1d8b6205 580 579 2022-10-30T05:03:27Z Groomesdeja 19 /* Ryan Evans */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion and theatre and makes them his defining characters. Ryan's close relationship with Sharpay also situates him as her "gay brother" instead of his own person. = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 7b55fdffa7b40fc541578f0164780f378c135d99 585 580 2022-10-30T19:43:05Z Groomesdeja 19 /* Ryan Evans */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. Ryan’s close relationship with his sister also situates him as her male counterpart, rather than his own person. = ''High School Musical 2'' (2007): The Queer Antithesis = More here on why HSM 2 is the queer antithesis and what that means to me (new environment, lack of social structure). Look up Shakespeare term about a new environment (with the country club) being situated in limbo and allowing for new character interactions. “We’re all in this together” is a reoccurring vestige from the first film despite the fact a lot of the characters are at odds in this sequel. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 9bd893bac998929e14160ac5b1a0d4691e6740a9 586 585 2022-10-30T20:38:54Z Groomesdeja 19 /* High School Musical 2 (2007): The Queer Antithesis */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. Ryan’s close relationship with his sister also situates him as her male counterpart, rather than his own person. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting normativity. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 36a5dd16f6280667aa5ba06a806bac206bc5a221 587 586 2022-10-30T20:40:22Z Groomesdeja 19 /* High School Musical 2 (2007): The Queer Antithesis */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. Ryan’s close relationship with his sister also situates him as her male counterpart, rather than his own person. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Character Relationships == === Ryan Evans & Chad Danforth === - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = a7ee97477238e9f4e01b15e348b5ecc28094f0b4 588 587 2022-10-30T20:59:18Z Groomesdeja 19 /* Ryan Evans & Chad Danforth */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. Ryan’s close relationship with his sister also situates him as her male counterpart, rather than his own person. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Chad as he is smiling the two are poking fun at one another. - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 0b41b8c4c4c3d353ffa7e63628f620d34ef8218f 589 588 2022-10-30T21:14:15Z Groomesdeja 19 /* Ryan Evans & Chad Danforth */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. Ryan’s close relationship with his sister also situates him as her male counterpart, rather than his own person. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Chad as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extedns beyond the performance of I Don’t Dance, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 8c343ffd6a59833c1979d10328e2abf29ad1b97b 590 589 2022-10-30T21:16:38Z Groomesdeja 19 /* Ryan Evans & Chad Danforth */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. Ryan’s close relationship with his sister also situates him as her male counterpart, rather than his own person. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Chad as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of ''I Don’t Dance'' and the baseball scene, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers often engage in. - Following the game: “Hey Evans! I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” - Ryan’s back is turned to Chad, but he smiles as he walks away. - Scene cuts to Troy at the Red Hawks gym for a moment. Then cuts back to Ryan and Chad who have now swapped clothes. - Chad has warmed up to Ryan. He’s smiling and poking at fun at how Ryan didn’t say he was so good at baseball. Ryan reveals that his Little League baseball team were championship winners and Chad playfully hits him - Towards the end of the film following his reconciliation with Troy, Chad tells Troy that he has to see Ryan play baseball - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = ac1e045217a45bc5d9ceaefbe8425e2aed84b9d6 591 590 2022-10-30T21:17:22Z Groomesdeja 19 /* Character Relationships */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. Ryan’s close relationship with his sister also situates him as her male counterpart, rather than his own person. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Chad as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of ''I Don’t Dance'' and the baseball scene, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers often engage in. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? === ''You Are The Music in Me'' (Sharpay Version) === =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = bab756416ac5ae2078d4eeb9bce3f284d9b37d01 592 591 2022-10-30T21:22:52Z Groomesdeja 19 /* Music */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. Ryan’s close relationship with his sister also situates him as her male counterpart, rather than his own person. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Chad as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of ''I Don’t Dance'' and the baseball scene, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers often engage in. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 428039f86b7e567ae5ecb356d6d7f2b6ae88ba79 593 592 2022-10-30T23:01:11Z Groomesdeja 19 /* Ryan Evans & Chad Danforth */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. Ryan’s close relationship with his sister also situates him as her male counterpart, rather than his own person. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of ''I Don’t Dance'' and the baseball scene, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers often engage in. === Troy Bolton & Sharpay Evans === - Introduce Sharpary as the main antagonist of sort - Sharpay and Troy have lots of screentime together due to Sharpay’s intentions of buttering up Troy with her family’s connections at the country club and with college basketball - Troy falls into her “trap” but begins to see the benefit of the access that Sharpay can offer. He’s initially hesistant but becomes less so after being introduced to the RedHawks college basketball players and attending their practice - Sharpay enjoys the relationship for her romantic intentions with Troy - From the perspective of characters like Taylor, Chad, and eventually Gabriella, Troy is changing under these new circumstances with Sharpay and not for the better. - The Music in Me reg. version vs. sharpay version displays the queered relationship. It’s also the point in the film where troy realizes how far he’s strayed from who he is. - He overs the rest of the cast rehearsing for the talent show under Ryan’s direction and it becomes clear that hes become the outside === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = abb6594e54e95644eab41a9654d15924c2ef22fc 594 593 2022-10-30T23:01:56Z Groomesdeja 19 /* Character Relationships */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labelled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. Ryan’s close relationship with his sister also situates him as her male counterpart, rather than his own person. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of ''I Don’t Dance'' and the baseball scene, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers often engage in. === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = c3f2cc9524174b13d5e54500d3b28b56862d7c5a 595 594 2022-10-30T23:04:34Z Groomesdeja 19 /* Troy Bolton & Gabriella Montez */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. Ryan’s close relationship with his sister also situates him as her male counterpart, rather than his own person. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of ''I Don’t Dance'' and the baseball scene, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers often engage in. === Sharpay & Ryan Evans === - The two are at odds for the first and only time in the trilogy - Sharpay asks when he became “one of them” to which Ryan says he will take as a compliment - Ryan has been adopted and seemingly replaced troy’s central role in the main friend group - Mention Ryan's dad fixing his hat during the golfing scene. And at the end of the film when Ryan is awarded the Star Dazzle Award, his father tells him to "fix the hat." However, among the Wildcats he's accepted for who is. == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 61949d7a7142fe95fa9b9f7d19b7a963472658b0 596 595 2022-10-30T23:10:54Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children and adults alike for its iconic soundtrack. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as ''Camp Rock'' (2010), ''Teen Beach Movie'' (2011), ''Descendants'' (2015), and various others. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with ''High School Musical'' (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today, ''Archives''</ref> and ''High School Musical 2'' (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>.These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. Additionally, in 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. Ryan’s close relationship with his sister also situates him as her male counterpart, rather than his own person. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of ''I Don’t Dance'' and the baseball scene, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers often engage in. == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 6b285967df238547208a0b205611671a74603342 597 596 2022-10-30T23:39:13Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a side-kick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. Ryan’s close relationship with his sister also situates him as her male counterpart, rather than his own person. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of ''I Don’t Dance'' and the baseball scene, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers often engage in. == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 0f7f9b2a2da46616d85f561df9c8a444f140e1a7 598 597 2022-10-30T23:42:00Z Groomesdeja 19 /* Ryan Evans */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character <ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref>. Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded <ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref>. Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of ''I Don’t Dance'' and the baseball scene, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers often engage in. == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = ea0e1fa323098b65010393c82d0238fb87f8e08f 599 598 2022-10-30T23:43:41Z Groomesdeja 19 /* Queer Stereotypes */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character <ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref>. Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded <ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref>. Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of ''I Don’t Dance'' and the baseball scene, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers often engage in. == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 1a38c5754f28f0bbededd7c7c82e1eba409442d2 600 599 2022-10-30T23:47:33Z Groomesdeja 19 /* High School Musical 2 (2007): The Queer Antithesis */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character <ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref>. Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded <ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref>. Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === Allows for new character interactions and new challenges. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of ''I Don’t Dance'' and the baseball scene, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers often engage in. == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 4eae1fc9a2594d84006226a4cbd4ebbf1311eb04 601 600 2022-10-31T00:46:09Z Groomesdeja 19 /* Lava Springs */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character <ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref>. Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded <ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref>. Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of ''I Don’t Dance'' and the baseball scene, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers often engage in. == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 14ed677f615e945ca28cfb8f542b117e7b0332e8 602 601 2022-10-31T00:47:30Z Groomesdeja 19 /* Ryan Evans & Chad Danforth */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character <ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref>. Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded <ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref>. Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent example of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of ''I Don’t Dance'' and the baseball scene, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers often engage in. == Music == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 815f0f94a08ac00ee016a32ae455b98420cdceca 603 602 2022-10-31T00:49:17Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character <ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref>. Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded <ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref>. Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent example of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does dance whilst singing about he doesn’t and simultaneously forming a new bond with Ryan. (See the I Don’t Dance portion under the Queering Songs section for a further analysis). The infamous scene of queer-coding follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling the two are poking fun at one another. This romance is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of ''I Don’t Dance'' and the baseball scene, and situates itself as a prominent part of Chad’s character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers often engage in. == Queer Allegories == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = cd46d0cb8414f99ce5b5515f6f1cedc8e40feef6 604 603 2022-10-31T01:24:48Z Groomesdeja 19 /* Character Relationships */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character <ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref>. Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded <ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref>. Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut <ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] Insider interview with Lucas Grabeel</ref>. Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essay, cultural think-piece articles, and fanfictions across the internet. In a video essay by YouTuber Alexander Avila, Avila makes the claim that Chad’s fear of Troy’s labeling can be cited as a result of his internalized homophobia <ref>[https://www.youtube.com/watch?v=SZDD-aTgcRM] Alexander Avila video essay on Chad and Ryan.</ref> == Queer Allegories == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 097129c82616cbd22e41bdaf554fa2099f56d017 605 604 2022-10-31T01:25:46Z Groomesdeja 19 /* Ryan Evans & Chad Danforth */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers <ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref>. These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend<ref> [https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref>. In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character <ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref>. Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded <ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref>. Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] Insider interview with Lucas Grabeel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essay, cultural think-piece articles, and fanfictions across the internet. In a video essay by YouTuber Alexander Avila, Avila makes the claim that Chad’s fear of Troy’s labeling can be cited as a result of his internalized homophobia. <ref>[https://www.youtube.com/watch?v=SZDD-aTgcRM] Alexander Avila video essay on Chad and Ryan</ref> == Queer Allegories == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = ac350b38421b1a30f20246bcc3010ec15be55c34 606 605 2022-10-31T01:29:10Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] Insider interview with Lucas Grabeel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essay, cultural think-piece articles, and fanfictions across the internet. In a video essay by YouTuber Alexander Avila, Avila makes the claim that Chad’s fear of Troy’s labeling can be cited as a result of his internalized homophobia. <ref>[https://www.youtube.com/watch?v=SZDD-aTgcRM] Alexander Avila video essay on Chad and Ryan</ref> == Queer Allegories == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 77689b145c8c41f06fa17b5765856674bd080cdd 0 64 581 2022-10-30T05:33:16Z Emma Kate 9 Created page with "Velma Dinkley is a principal character in the ''Scooby-Doo'' franchise, alongside Shaggy Rogers, Fred Jones, Daphne Blake, and their talking dog, a Great Dane named Scooby-Doo. She is usually portrayed as the “brains” of the group and often wears an orange turtleneck sweater and glass. == Introduction == Velma’s character has changed significantly throughout the many different iterations of the ''Scooby-Doo'' franchise. Since her introduction in the 1969 animat..." wikitext text/x-wiki Velma Dinkley is a principal character in the ''Scooby-Doo'' franchise, alongside Shaggy Rogers, Fred Jones, Daphne Blake, and their talking dog, a Great Dane named Scooby-Doo. She is usually portrayed as the “brains” of the group and often wears an orange turtleneck sweater and glass. == Introduction == Velma’s character has changed significantly throughout the many different iterations of the ''Scooby-Doo'' franchise. Since her introduction in the 1969 animated series, ''Scooby-Doo, Where Are You?'' Velma has been an icon for queer fans, due to her consistent worry about Daphne’s safety, her lack of interest in boys, and her nerdiness, which separates her from Daphne’s hyperfeminine nature. == Queer Audience == == Creator’s Goals == Various ''Scooby-Doo'' writers, producers, and directors have attempted to portray Velma Dinkley as attracted to women for decades. James Gunn, who directed the 2002 ''Scooby-Doo'' film and its 2004 sequel, ''Scooby-Doo 2: Monsters Unleashed'', revealed on Twitter in 2020 that Velma was “explicitly gay” in the initial script, but the studio pushed back against depictions of queer sexuality, making Velma’s queerness not only non-apparent but non-existent. Similarly, creator Tony Cervone wrote on Instagram in 2020 that Velma was written as gay in ''Scooby-Doo! Mystery Incorporated'', which premiered in 2010. This is despite Velma and Shaggy having a romantic relationship during the show, although Velma was portrayed as uncomfortable in this relationship. == Canonical Lesbianism (Trick or Treat Scooby-Doo!) == In the 2022 animated film, ''Trick or Treat Scooby-Doo!'', Velma has a crush on the female secondary antagonist Coco Diablo. Upon meeting Coco, Velma stops in her tracks and becomes infatuated. Notably, Coco mirrors many traits that appear in Velma herself, such as a turtleneck and glasses. == References == b077263e31e9ad11c3dde7e8d27b3bbafdc51f25 0 38 582 452 2022-10-30T05:35:55Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|Taylor_Swift_2_(18477753053)|thumb|Taylor Swift in 2015, wearing a sequined jacket featuring the colors of the bisexual pride flag]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. [https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/] === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”) == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == 1. https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/ 2. https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei 3. https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270 4. https://psycnet.apa.org/record/2022-58525-001 5. https://www.tandfonline.com/doi/full/10.1080/07494467.2021.1945225 6. https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift 7. https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703 8. https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/ 9. https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok 10. https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/ 11. https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok b6e4dac477c78bd064ded8e3ebc1cee07dc6cf49 583 582 2022-10-30T05:38:22Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|Taylor_Swift_2_(18477753053)|thumb|Taylor Swift in 2015, wearing a sequined jacket featuring the colors of the bisexual pride flag]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. [https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/] === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”) == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. [https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei] == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == 1. https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/ 2. https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei 3. https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270 4. https://psycnet.apa.org/record/2022-58525-001 5. https://www.tandfonline.com/doi/full/10.1080/07494467.2021.1945225 6. https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift 7. https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703 8. https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/ 9. https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok 10. https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/ 11. https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok 5378cf6a1ff360b56e064243655809d86908041c 584 583 2022-10-30T05:40:41Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|Taylor_Swift_2_(18477753053)|thumb|Taylor Swift in 2015, wearing a sequined jacket featuring the colors of the bisexual pride flag]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. [https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/] === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”) == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. [https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270] === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. [https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei] == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == 1. https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/ 2. https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei 3. https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270 4. https://psycnet.apa.org/record/2022-58525-001 5. https://www.tandfonline.com/doi/full/10.1080/07494467.2021.1945225 6. https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift 7. https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703 8. https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/ 9. https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok 10. https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/ 11. https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok 635c823d448893d947d3c023e7b9cdbe17e0155b 0 38 607 584 2022-10-31T01:29:40Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|Taylor_Swift_2_(18477753053)|thumb|Taylor Swift in 2015, wearing a sequined jacket featuring the colors of the bisexual pride flag]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. [https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/] === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. [https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok] == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”) == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. [https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270] === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. [https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei] == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” [https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/] On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == 1. https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/ 2. https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei 3. https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270 4. https://psycnet.apa.org/record/2022-58525-001 5. https://www.tandfonline.com/doi/full/10.1080/07494467.2021.1945225 6. https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift 7. https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703 8. https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/ 9. https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok 10. https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/ 02bac989e28ce60f6e6eb01ec229690c43beefaf 609 607 2022-10-31T01:35:57Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|Taylor_Swift_2_(18477753053)|thumb|Taylor Swift in 2015, wearing a sequined jacket featuring the colors of the bisexual pride flag]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. [https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/][https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/] === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. [https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok] == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. [https://psycnet.apa.org/record/2022-58525-001] === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”)[https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703] == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. [https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270] === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. [https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei] [https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift] == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” [https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/] On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == 1. https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/ 2. https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei 3. https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270 4. https://psycnet.apa.org/record/2022-58525-001 5. https://www.tandfonline.com/doi/full/10.1080/07494467.2021.1945225 6. https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift 7. https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703 8. https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/ 9. https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok 10. https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/ 94e25a4925bddfe26cf4220a36a25d38cfbb96d3 610 609 2022-10-31T01:37:38Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|Taylor_Swift_2_(18477753053)|thumb|Taylor Swift in 2015, wearing a sequined jacket featuring the colors of the bisexual pride flag]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. [https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/][https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/] === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. [https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok] == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. [https://psycnet.apa.org/record/2022-58525-001] === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”)[https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703] == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. [https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270] === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. [https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei] [https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift] == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” [https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/] On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == 1. https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/ 2. https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/ 3. https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei 4. https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270 5. https://psycnet.apa.org/record/2022-58525-001 6. https://www.tandfonline.com/doi/full/10.1080/07494467.2021.1945225 7. https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift 8. https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703 9. https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok 10. https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/ 4dc24305999e1e42997053a47dda19251e532505 611 610 2022-10-31T01:39:26Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|Taylor_Swift_2_(18477753053)|thumb|Taylor Swift in 2015, wearing a sequined jacket featuring the colors of the bisexual pride flag]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. [https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/][https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/] === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. [https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok] == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. [https://psycnet.apa.org/record/2022-58525-001] === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”)[https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703] == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. [https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270] === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. [https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei] [https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift] == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” [https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/] On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == 1. https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/ 2. https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/ 3. https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok 4. https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei 5. https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270 6. https://psycnet.apa.org/record/2022-58525-001 7. https://www.tandfonline.com/doi/full/10.1080/07494467.2021.1945225 8. https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift 9. https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703 10. https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/ 404c9e276eff224dd6f1222cbb9388ec37823dcc 612 611 2022-10-31T01:41:49Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|Taylor_Swift_2_(18477753053)|thumb|Taylor Swift in 2015, wearing a sequined jacket featuring the colors of the bisexual pride flag]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. [https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/][https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/] === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. [https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok] == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. [https://psycnet.apa.org/record/2022-58525-001] === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”)[https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703] == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. [https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270] === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. [https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei] [https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift] == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” [https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/] On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == 1. https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/ 2. https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/ 3. https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok 4. https://psycnet.apa.org/record/2022-58525-001 5. https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei 6. https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270 7. https://www.tandfonline.com/doi/full/10.1080/07494467.2021.1945225 8. https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift 9. https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703 10. https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/ 5e558da4fea32ec9b6e2a378a1ef8008cc3556a7 613 612 2022-10-31T01:42:51Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|Taylor_Swift_2_(18477753053)|thumb|Taylor Swift in 2015, wearing a sequined jacket featuring the colors of the bisexual pride flag]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. [https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/][https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/] === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. [https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok] == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. [https://psycnet.apa.org/record/2022-58525-001] === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”)[https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703] == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. [https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270] === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. [https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei] [https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift] == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” [https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/] On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == 1. https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/ 2. https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/ 3. https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok 4. https://psycnet.apa.org/record/2022-58525-001 5. https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703 6. https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei 7. https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270 8. https://www.tandfonline.com/doi/full/10.1080/07494467.2021.1945225 9. https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift 10. https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/ 8c9c03d4b4daf98827950dc53292563e2fbd0f54 614 613 2022-10-31T01:44:15Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|Taylor_Swift_2_(18477753053)|thumb|Taylor Swift in 2015, wearing a sequined jacket featuring the colors of the bisexual pride flag]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. [https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/][https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/] === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. [https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok] == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. [https://psycnet.apa.org/record/2022-58525-001] === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”)[https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703] == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. [https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270] === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. [https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei] [https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift] == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” [https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/] On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == 1. https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/ 2. https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/ 3. https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok 4. https://psycnet.apa.org/record/2022-58525-001 5. https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703 6. https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270 7. https://www.tandfonline.com/doi/full/10.1080/07494467.2021.1945225 8. https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift 9. https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/ dc680624a8eeb77a664153659ea4af5166192467 615 614 2022-10-31T01:48:49Z Emma Kate 9 wikitext text/x-wiki [[File:Taylor Swift 2 (18477753053).jpg|Taylor_Swift_2_(18477753053)|thumb|Taylor Swift in 2015, wearing a sequined jacket featuring the colors of the bisexual pride flag]] == Taylor Swift's Queer Media == === Foundation: Taylor Swift as “America’s Sweetheart” === Taylor Swift rose to fame at a young age with country-pop hits that rang true to the American ideal of a teenage girl. She smiled shyly and got excited easily. She is blonde-haired, blue-eyed, and tall, but her physique reads as desexualized, allowing her to escape the hypersexualization that is imposed on other female artists. For a number of years at the beginning of her career, her public persona identified her as a “good girl.” In early songs, she aligns herself in opposition to promiscuous women, such as the lyrics “she wears short skirts, I wear t-shirts” in 2008’s “You Belong With Me” or “she’s better known for the things that she does on the mattress” in 2010’s “Better Than Revenge.” These early lyrics work to support a puritanical heteronormative ideal of a soft, sweet woman. === Queering Heterosexual Relationships === Swift has been primarily known for writing about her experiences in heterosexual relationships with men. However, she often does so in a way that subverts heteronormative patriarchy, especially in more recent years. She centers her experience as a woman and uplifts femininity. Her reputation as a “serial dater” challenges gendered expectations of long-term monogamy. In songs like “Bad Blood,” she outright mocks the misogynistic assumptions made about her, with lyrics such as “got a long list of ex-lovers, they’ll tell you I'm insane.’’ In “The Man,” she imagines how her life and career would be easier as a man, specifically a cis-gendered, heterosexual, white man. [https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/][https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/] === The ''Lover'' Era ( “Me!” and” You Need to Calm Down”) === Taylor Swift's career has been broken up into “eras” surrounding the release of each album, and Swift herself adopts a slightly different persona during each era. During the ''Lover'' era, Swift’s music videos and marketing visuals become suddenly overrun with rainbow colors, especially mixes of pinks and blues, which many saw as a direct reference to the gay pride movement. In one clip of her discussing the conception of the music video for “Me!”, she includes “gay pride” in a list of things that define her personality: “dancers, cats, gay pride, people in country western boots, I start riding a unicorn... just everything that makes me, me.” Additionally, the song “You Need to Calm Down” is viewed as an explicit protest song in favor of LGBTQ rights, including the lyric “shade never made anybody less gay.” The music video for “You Need to Calm Down” also features a number of prominent queer celebrities, including RuPaul, Billy Porter, Laverne Cox, Hayler Kiyoko, and the stars of Netflix’s Queer Eye: Jonathan Van Ness, Karamo Brown, Antoni Porowski, Tan France, and Bobby Berk. [https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok] [https://www.tandfonline.com/doi/full/10.1080/07494467.2021.1945225] == Popular Theories and Evidence == A large subsection of Taylor Swift fans, many of whom identify as queer themselves, believe that Swift has been subtly dropping hints that reveal her queerness for years. Evidence includes the overtones of gay pride in the visuals of the Lover era, the song “betty” (which is written about a relationship with a girl, but Swift has stated is sung from the perspective of a boy), and her past close friendships with other women. [https://psycnet.apa.org/record/2022-58525-001] === Relationships with Karlie Kloss and Dianna Agron === Model Karlie Kloss and actress Dianna Agron have each been called Taylor Swift’s best friend at some point in time. Many fans believe that Swift has engaged in romantic and/or sexual relationships with one or both of these women. The most damning evidence, for many proponents of the Gaylor theory, was “kissgate”, wherein photos taken by fans show Swift and Kloss standing incredibly close and appearing to kiss while at a concert. Additionally, many believe the song “Wonderland”, a bonus track on the album 1989, to be written about Agron, as it includes references to Alice in Wonderland, which Agron has publicly declared her favorite movie and previously had a tattoo based on. (The tattoo has since been removed, following the release of Swift’s “Wonderland”)[https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703] == Detractors of the Gaylor Theory == === Accusations of Rainbow Capitalism === A popular criticism of Taylor Swift has been her perceived participation in performative activism and “rainbow capitalism”, rather than true activist work. While many saw the song “You Need to Calm Down” as many great strides for acceptance of the LGBT community, many others felt it was disingenuous, and took issue with a woman who publicly identifies as heterosexual profiting from a song about queer struggles and equating them to her personal struggles. She has been accused of “jumping on the bandwagon” of queer activism. [https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270] === “Hetlors” and the LGBTQ+ projection argument === “Hetlors”, a term coined by Gaylor theorists to describe those who hold firm to the belief that Taylor Swift is a heterosexual woman, have criticized the Gaylor theory on the basis that it is simply LGBTQ+ fans projecting their own identities onto Swift. They claim that these fans have an unhealthy parasocial relationship with Swift and that this has led them to overanalyze her music and her actions to find evidence that doesn’t truly exist, or has no deeper hidden meaning. [https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei] [https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift] == Wider Implications == What would it mean for a prominent white woman who writes about relationships with men to be queer? Why might her fans be attracted to the theory that she is queer? Taylor Swift herself has explicitly described herself as outside of the queer community. In one 2019 interview with Vogue, she stated “I didn’t realize until recently that I could advocate for a community that I’m not a part of.” [https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/] On the other side, many still her “advocating” as instead attracting a queer audience for profit. As one fan said of Swift, “Either this woman is gay, or she's intentionally terrorizing the LGBTQ community.” == References == 1. https://artsone.arts.ubc.ca/2021/07/16/loving-her-was-red-the-dichotomy-of-love-and-desire-according-to-sappho-and-taylor-swift/ 2. https://ndamstamericana.com/2021/09/30/swiftian-femininity-taylor-swifts-gender-identity-and-branding/ 3. https://www.gawker.com/celebrity/is-taylor-swift-gay-gaylor-tiktok 4. https://www.tandfonline.com/doi/full/10.1080/07494467.2021.1945225 5. https://psycnet.apa.org/record/2022-58525-001 6. https://jezebel.com/taylor-swift-queer-gaylor-fan-theory-explained-1848698703 7. https://www.tandfonline.com/doi/abs/10.1080/07494467.2021.1956270 8. https://www.tandfonline.com/doi/full/10.1080/15213269.2017.1416295?casa_token=WLRD2bfIvY0AAAAA%3AsTfgfHUSL1xLTve21DpEVF1x67fiPvCRbiBUBUsTVn8__yCfF2Ht7vE2KESKDI6VJvMgHT99vRei 9. https://www.vogue.com/article/its-time-to-stop-projecting-onto-taylor-swift 10. https://www.spin.com/2019/08/taylor-swift-sexuality-quotes-vogue-interview/ acd0324bf247cd4c3fea024dd69fb5cfd604fa7a 0 61 608 606 2022-10-31T01:30:13Z Groomesdeja 19 /* Ryan Evans & Chad Danforth */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] Insider interview with Lucas Grabeel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. In a video essay by YouTuber Alexander Avila, Avila makes the claim that Chad’s fear of Troy’s labeling can be cited as a result of his internalized homophobia. <ref>[https://www.youtube.com/watch?v=SZDD-aTgcRM] Alexander Avila video essay on Chad and Ryan</ref> == Queer Allegories == ===''I Don't Dance'' === - More here on analyzing the lyrics of I Don't Dance through a queer lens (Chad claims he doesn't dance while performing a dance number). - Compare to Stick to the Status Quo - “Dance” as a metaphor? =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 3cb09eaea263515b6d89b9154cce1c64c925187e 616 608 2022-10-31T01:58:11Z Groomesdeja 19 /* I Don't Dance */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] Insider interview with Lucas Grabeel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. In a video essay by YouTuber Alexander Avila, Avila makes the claim that Chad’s fear of Troy’s labeling can be cited as a result of his internalized homophobia. <ref>[https://www.youtube.com/watch?v=SZDD-aTgcRM] Alexander Avila video essay on Chad and Ryan</ref> == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24FramesofNick. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= Small synopsis here. The only theatrical release of the trilogy == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = d7c94662fcca573ae341efe0a9965f39703632b7 617 616 2022-10-31T02:01:59Z Groomesdeja 19 /* High School Musical 3: Senior Year (2008) */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] Insider interview with Lucas Grabeel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. In a video essay by YouTuber Alexander Avila, Avila makes the claim that Chad’s fear of Troy’s labeling can be cited as a result of his internalized homophobia. <ref>[https://www.youtube.com/watch?v=SZDD-aTgcRM] Alexander Avila video essay on Chad and Ryan</ref> == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24FramesofNick. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = c9789a6ca353bb9e18ab9bad2f0c656ec77a9b45 618 617 2022-10-31T02:04:53Z Groomesdeja 19 /* I Don't Dance */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] Insider interview with Lucas Grabeel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. In a video essay by YouTuber Alexander Avila, Avila makes the claim that Chad’s fear of Troy’s labeling can be cited as a result of his internalized homophobia. <ref>[https://www.youtube.com/watch?v=SZDD-aTgcRM] Alexander Avila video essay on Chad and Ryan</ref> == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 9a2e9787e5eccdecad37eb5488e5254536c5b568 619 618 2022-10-31T02:05:57Z Groomesdeja 19 /* Ryan Evans & Kelsi Nielson */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] Insider interview with Lucas Grabeel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. In a video essay by YouTuber Alexander Avila, Avila makes the claim that Chad’s fear of Troy’s labeling can be cited as a result of his internalized homophobia. <ref>[https://www.youtube.com/watch?v=SZDD-aTgcRM] Alexander Avila video essay on Chad and Ryan</ref> == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments - Called a red herring by some cultural producers such a YouTube video-essayisy, 24FramesofNick - Though both can still be viewed through a queer coded lens despite going together (not mutually exclusive). It is telling that this decision was made for the film that would garner an even wider audience than the made for television predecessors. - Any remnants of Chad and Ryan’s romance are removed in this sequel, and the two are back to interacting only during group numbers. This change can also be a result of re-instating the setting of East High where social structure, though somewhat changed, still dictate all character relationships and decisions. = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = c7eb0c1fb6e6c74c4d1561ccb63ec41e364b8474 620 619 2022-10-31T02:08:33Z Groomesdeja 19 /* Character Relationships */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Variety interview with Kenny Ortega</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] TV Line interview with Lucas Grabeel</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments - Called a red herring by some cultural producers such a YouTube video-essayisy, 24FramesofNick - Though both can still be viewed through a queer coded lens despite going together (not mutually exclusive). It is telling that this decision was made for the film that would garner an even wider audience than the made for television predecessors. - Any remnants of Chad and Ryan’s romance are removed in this sequel, and the two are back to interacting only during group numbers. This change can also be a result of re-instating the setting of East High where social structure, though somewhat changed, still dictate all character relationships and decisions. = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = cd58ec24580e43cf2c5b75f772c143f23a7669a0 621 620 2022-10-31T02:09:51Z Groomesdeja 19 /* Ryan Evans */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments - Called a red herring by some cultural producers such a YouTube video-essayisy, 24FramesofNick - Though both can still be viewed through a queer coded lens despite going together (not mutually exclusive). It is telling that this decision was made for the film that would garner an even wider audience than the made for television predecessors. - Any remnants of Chad and Ryan’s romance are removed in this sequel, and the two are back to interacting only during group numbers. This change can also be a result of re-instating the setting of East High where social structure, though somewhat changed, still dictate all character relationships and decisions. = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 4be116a312a23e87aac2cbad6dc058a0bb26dd05 622 621 2022-10-31T02:10:41Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments - Called a red herring by some cultural producers such a YouTube video-essayisy, 24FramesofNick - Though both can still be viewed through a queer coded lens despite going together (not mutually exclusive). It is telling that this decision was made for the film that would garner an even wider audience than the made for television predecessors. - Any remnants of Chad and Ryan’s romance are removed in this sequel, and the two are back to interacting only during group numbers. This change can also be a result of re-instating the setting of East High where social structure, though somewhat changed, still dictate all character relationships and decisions. = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 3c0f6cc0715bb52a64860155f9c8053f3bb058cc 623 622 2022-10-31T02:11:30Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments - Called a red herring by some cultural producers such a YouTube video-essayisy, 24FramesofNick - Though both can still be viewed through a queer coded lens despite going together (not mutually exclusive). It is telling that this decision was made for the film that would garner an even wider audience than the made for television predecessors. - Any remnants of Chad and Ryan’s romance are removed in this sequel, and the two are back to interacting only during group numbers. This change can also be a result of re-instating the setting of East High where social structure, though somewhat changed, still dictate all character relationships and decisions. = Closing Thoughts = = Further Reading = [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 493e1291a3ddb846e4cf45b5dde7775936b688ce 624 623 2022-10-31T02:12:21Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments - Called a red herring by some cultural producers such a YouTube video-essayisy, 24FramesofNick - Though both can still be viewed through a queer coded lens despite going together (not mutually exclusive). It is telling that this decision was made for the film that would garner an even wider audience than the made for television predecessors. - Any remnants of Chad and Ryan’s romance are removed in this sequel, and the two are back to interacting only during group numbers. This change can also be a result of re-instating the setting of East High where social structure, though somewhat changed, still dictate all character relationships and decisions. = Further Reading = Read more about queer coding in media by visiting the linked pages. [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 9894755d1a84d3f055686132ff0a174b064561a1 625 624 2022-10-31T02:12:48Z Groomesdeja 19 /* Further Reading */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one queer-coded character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments - Called a red herring by some cultural producers such a YouTube video-essayisy, 24FramesofNick - Though both can still be viewed through a queer coded lens despite going together (not mutually exclusive). It is telling that this decision was made for the film that would garner an even wider audience than the made for television predecessors. - Any remnants of Chad and Ryan’s romance are removed in this sequel, and the two are back to interacting only during group numbers. This change can also be a result of re-instating the setting of East High where social structure, though somewhat changed, still dictate all character relationships and decisions. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = fe04270b374d4e587b3ce00b67c07d8359154a48 626 625 2022-10-31T02:24:35Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === Paired up for the final film. A romance not hinted at within the first two installments - Called a red herring by some cultural producers such a YouTube video-essayisy, 24FramesofNick - Though both can still be viewed through a queer coded lens despite going together (not mutually exclusive). It is telling that this decision was made for the film that would garner an even wider audience than the made for television predecessors. - Any remnants of Chad and Ryan’s romance are removed in this sequel, and the two are back to interacting only during group numbers. This change can also be a result of re-instating the setting of East High where social structure, though somewhat changed, still dictate all character relationships and decisions. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 53d04d6198a2a80fc17ec170fd2fe183507deff3 0 65 627 2022-10-31T04:41:27Z 68.112.56.21 0 Created page with "== Queer Modern Fashion == When it comes to identifying and highlighting common fashion trends in the queer community, I wanted to go a more tangible, realistic route and look beyond brands and fashion artists. While these types of acknowledgements are important, an immediate thought that came to my mind is that these brands may be inaccessible, expensive, and I feel like it severely limits the artistic and fashionable expressions of the community. I also feel like I wou..." wikitext text/x-wiki == Queer Modern Fashion == When it comes to identifying and highlighting common fashion trends in the queer community, I wanted to go a more tangible, realistic route and look beyond brands and fashion artists. While these types of acknowledgements are important, an immediate thought that came to my mind is that these brands may be inaccessible, expensive, and I feel like it severely limits the artistic and fashionable expressions of the community. I also feel like I would’ve missed the mark with the cluster focus being around queer coding. With that being said, I want to spend this area amplifying two Queer women’s voices as they touch on what fashion looks like for Queer individuals. Poet and filmmaker Nicole Mae creates a video explaining how large companies profit off of Pride by slapping rainbows on t-shirts, hats, and socks dressing it up as allyship. She included several Queer individuals to showcase realistic Queer fashion. Based on the individuals, some common patterns I noticed is that they like playing around with textures and fabrics and the majority of them like to pull from retro inspiration. Just about every person mentioned how they typically dress however they are feeling that day and how they don’t have a fixed wardrobe or go to outfits. A couple people stated how they have a minimalistic style and resort to dark colors or neutral colors. I loved how a guy mentioned how a lot of people assume all gay people wear bright flamboyant outfits when most individuals are the exact opposite. Someone also mentioned how they get inspiration from the validity of drag queens. Queer model Cynn Adretti describes her fashion as androgynous and genderless. Even though she is a femme, she also enjoys tapping into “masculine” outfits. She then begins to explain how Black people and people of color have been pressured to steer away from fashion expression and are taught that we cannot be different from others, which is why Cynn expresses such a bold and confident attitude about dressing outside of the box and “breaking the rules”. One thing that really stuck out to me was Cynn stated that your fashion is not tied to your sexuality, and you should not be restricted to that based on what you wear. == Outside Observations on Queer Fashion == A few more patterns I observed in outfits I’ve seen inside and outside of the research I conducted include: really cool t-shirts, cool jewelry, statement pieces, and beautiful vibrant colors. An honorable mention would be creative hairstyles and hair colors/designs. I have also noticed queer and/or lesbian women wear loose fitting clothes such as graphic tees and baggy pants. In the Black community I have also noticed lesbians typically wear locs. Something else I have noticed about queer women is their play on gender expression. A concrete example would be a bisexual woman I know who wears pretty make up, straight hair yet typically wears androgynous outfits. I feel like this is a great example of how I picture queerness; blurring the lines and challenging the binaries ingrained into our subconscious. == Flagging: The Hanky & Key Code == Before the era of putting rainbows in your social media bios and having being able to meet in safe spaces amongst community, there was something more subtle taking places such as flagging. It was established in the year of 1972 by Alan Selby, Ron Ernst, and Pat O’Brien who were major leather company owners at the time. In terms of flagging, people within the LGBTQIA+ community would wear different color bandanas tied around their arm or hanging from their back pocket that signaled specific kinks. Wearing a bandana on the left side equated to being a top, and the right side meant you were a bottom. Lesbians also did, and still do, participate in what is known as the key code. Lesbians would wear their keys on specific sides similar to the hanky code. Something really cool lesbians do as well is called Femme Flagging, which is painting their ring finger different from rest of their fingers to indicate their sexuality. == References == 1.[https://youtu.be/rABqIS0YnfE https://youtu.be/rABqIS0YnfE] 2.[https://youtu.be/GkqSHAzTpDs https://youtu.be/GkqSHAzTpDs] 3.[https://www.queerevents.ca/queer-corner/blog/history/queers-community-flagging https://www.queerevents.ca/queer-corner/blog/history/queers-community-flagging] d9a0dd0d03bac84181427013f3dda592786e7904 0 10 628 71 2022-10-31T04:50:44Z Amanda.peter 13 wikitext text/x-wiki Amanda is a pickle loving baddie with a love for T Swizz and an affinity for the color pink. == Taylor Swift == <ref>[https://www.taylorswift.com taylor]</ref> == Feminism == == Cats == == Pink == == Notes == == References == <references/> 876121fd4d983f39ccfe4d33d5a077a183ded09d 0 66 629 2022-10-31T04:51:52Z Amanda.peter 13 Created page with "Queer Mannerisms == Gay Mannerisms == Limp Wrist - Probably the most well-known queer mannerism is the limp wrist. Historically, the limp wrist has been associated with gay men because of its links to femininity ([https://gcn.ie/gay-hand-queer-stereotype/]). The gesture has since been used as a stereotype for gay men and queerness, even used as a fill-in for the word “gay” (or queer), such as when someone says, “Is he *limp wrist*?” Though the gesture may somet..." wikitext text/x-wiki Queer Mannerisms == Gay Mannerisms == Limp Wrist - Probably the most well-known queer mannerism is the limp wrist. Historically, the limp wrist has been associated with gay men because of its links to femininity ([https://gcn.ie/gay-hand-queer-stereotype/]). The gesture has since been used as a stereotype for gay men and queerness, even used as a fill-in for the word “gay” (or queer), such as when someone says, “Is he *limp wrist*?” Though the gesture may sometimes be meant as a derogatory motion, queer individuals have also adopted it as a way of asking if someone else is queer or as a signifier to express that they themselves are queer. The limp wrist has recently become a viral trend on Tik Tok as queer people flopped their wrists to the ding of Doja Cat’s “Kiss Me More.” Snapping - Another mannerism frequently associated with gay men is finger snapping, especially to emphasize a point. This action is commonly done in a Z pattern with thee snaps or with a single snap across the shoulders. From this came the term “snap queen,” used to refer to an effeminate man who might “punctuate and accentuate communication with finger snaps.” It should be noted that this and other mannerisms adopted by the queer community come directly from Black culture, and there are debates about whether this is an expected result of the crossing of queer and Black communities (especially in drag) or an act of appropriation. == Lesbian Mannerisms == == Bisexual Mannerisms == == Queer Culture == == Notes == == References == <references/> 480012d1032d8b535a50da2afa06f1775027964d 630 629 2022-10-31T04:57:24Z Amanda.peter 13 wikitext text/x-wiki Queer Mannerisms == Gay Mannerisms == '''Limp Wrist''' - Probably the most well-known queer mannerism is the limp wrist. Historically, the limp wrist has been associated with gay men because of its links to femininity (women’s clothing restricted movement, leaving their wrists limp <ref>[https://gcn.ie/gay-hand-queer-stereotype/</ref>). The gesture has since been used as a stereotype for gay men and queerness, even used as a fill-in for the word “gay” (or queer), such as when someone says, “Is he *limp wrist*?” Though the gesture may sometimes be meant as a derogatory motion, queer individuals have also adopted it as a way of asking if someone else is queer or as a signifier to express that they themselves are queer. The limp wrist has recently become a viral trend on Tik Tok as queer people flopped their wrists to the ding of Doja Cat’s “Kiss Me More.” '''Snapping''' - Another mannerism frequently associated with gay men is finger snapping, especially to emphasize a point. This action is commonly done in a Z pattern with thee snaps or with a single snap across the shoulders. From this came the term “snap queen,” used to refer to an effeminate man who might “punctuate and accentuate communication with finger snaps.” It should be noted that this and other mannerisms adopted by the queer community come directly from Black culture, and there are debates about whether this is an expected result of the crossing of queer and Black communities (especially in drag) or an act of appropriation. == Lesbian Mannerisms == == Bisexual Mannerisms == == Queer Culture == == Notes == == References == <references/> c565c5434c44d7bae5bba5b5d4bda48cba8fde2b 631 630 2022-10-31T05:00:08Z Amanda.peter 13 wikitext text/x-wiki Queer Mannerisms == Gay Mannerisms == '''Limp Wrist''' - Probably the most well-known queer mannerism is the limp wrist. Historically, the limp wrist has been associated with gay men because of its links to femininity (women’s clothing restricted movement, leaving their wrists limp <ref>[https://gcn.ie/gay-hand-queer-stereotype/</ref>). The gesture has since been used as a stereotype for gay men and queerness, even used as a fill-in for the word “gay” (or queer), such as when someone says, “Is he *limp wrist*?” Though the gesture may sometimes be meant as a derogatory motion, queer individuals have also adopted it as a way of asking if someone else is queer or as a signifier to express that they themselves are queer. The limp wrist has recently become a viral trend on Tik Tok as queer people flopped their wrists to the ding of Doja Cat’s “Kiss Me More.<ref>[https://www.youtube.com/watch?v=QXhWF-l3Xms&t=115s</ref>” '''Snapping''' - Another mannerism frequently associated with gay men is finger snapping, especially to emphasize a point. This action is commonly done in a Z pattern with thee snaps or with a single snap across the shoulders. From this came the term “snap queen,” used to refer to an effeminate man who might “punctuate and accentuate communication with finger snaps.” It should be noted that this and other mannerisms adopted by the queer community come directly from Black culture, and there are debates about whether this is an expected result of the crossing of queer and Black communities (especially in drag) or an act of appropriation. == Lesbian Mannerisms == == Bisexual Mannerisms == == Queer Culture == == Notes == == References == <references/> 8bd50f3d901bdbfc9e532264091d103a4c877069 632 631 2022-10-31T05:04:06Z Amanda.peter 13 wikitext text/x-wiki Queer Mannerisms == Gay Mannerisms == '''Limp Wrist''' - Probably the most well-known queer mannerism is the limp wrist. Historically, the limp wrist has been associated with gay men because of its links to femininity (women’s clothing restricted movement, leaving their wrists limp <ref>[https://gcn.ie/gay-hand-queer-stereotype/</ref>). The gesture has since been used as a stereotype for gay men and queerness, even used as a fill-in for the word “gay” (or queer), such as when someone says, “Is he *limp wrist*?” Though the gesture may sometimes be meant as a derogatory motion, queer individuals have also adopted it as a way of asking if someone else is queer or as a signifier to express that they themselves are queer. The limp wrist has recently become a viral trend on Tik Tok as queer people flopped their wrists to the ding of Doja Cat’s “Kiss Me More.<ref>[https://www.youtube.com/watch?v=QXhWF-l3Xms&t=115s</ref>” '''Snapping''' - Another mannerism frequently associated with gay men is finger snapping, especially to emphasize a point. This action is commonly done in a Z pattern with thee snaps or with a single snap across the shoulders. From this came the term “snap queen,” <ref>[https://www.mindprod.com/ggloss/snapqueen.html]</ref> used to refer to an effeminate man who might “punctuate and accentuate communication with finger snaps.” It should be noted that this and other mannerisms adopted by the queer community come directly from Black culture, and there are debates <ref>[https://www.reddit.com/r/askgaybros/comments/4322dl/why_do_gay_men_generally_try_to_imitate_black/]</ref> about whether this is an expected result of the crossing of queer and Black communities (especially in drag) or an act of appropriation.<ref>[https://ourliveswisconsin.com/article/dear-queer-white-people-cultural-appropriation/]</ref> == Lesbian Mannerisms == == Bisexual Mannerisms == == Queer Culture == == Notes == == References == <references/> fb92fa59e22eff36df749147226bdeaa8e473208 633 632 2022-10-31T05:10:36Z Amanda.peter 13 wikitext text/x-wiki Queer Mannerisms == Gay Mannerisms == '''Limp Wrist''' - Probably the most well-known queer mannerism is the limp wrist. Historically, the limp wrist has been associated with gay men because of its links to femininity (women’s clothing restricted movement, leaving their wrists limp <ref>[https://gcn.ie/gay-hand-queer-stereotype/</ref>). The gesture has since been used as a stereotype for gay men and queerness, even used as a fill-in for the word “gay” (or queer), such as when someone says, “Is he *limp wrist*?” Though the gesture may sometimes be meant as a derogatory motion, queer individuals have also adopted it as a way of asking if someone else is queer or as a signifier to express that they themselves are queer. The limp wrist has recently become a viral trend on Tik Tok as queer people flopped their wrists to the ding of Doja Cat’s “Kiss Me More.<ref>[https://www.youtube.com/watch?v=QXhWF-l3Xms&t=115s</ref>” '''Snapping''' - Another mannerism frequently associated with gay men is finger snapping, especially to emphasize a point. This action is commonly done in a Z pattern with thee snaps or with a single snap across the shoulders. From this came the term “snap queen,” <ref>[https://www.mindprod.com/ggloss/snapqueen.html]</ref> used to refer to an effeminate man who might “punctuate and accentuate communication with finger snaps.” It should be noted that this and other mannerisms adopted by the queer community come directly from Black culture, and there are debates <ref>[https://www.reddit.com/r/askgaybros/comments/4322dl/why_do_gay_men_generally_try_to_imitate_black/]</ref> about whether this is an expected result of the crossing of queer and Black communities (especially in drag) or an act of appropriation.<ref>[https://ourliveswisconsin.com/article/dear-queer-white-people-cultural-appropriation/]</ref> == Lesbian Mannerisms == '''Lesbian cup hold''' - Queer women, especially lesbians, have noticed a common way of holding their cups by the rims, grabbing the tops with their fingertips<ref>[https://www.tiktok.com/t/ZTR9QYqrm/]</ref>. This action can be performed with all types of cups, including coffee mugs, water bottles, and to-go cups with straws (the straw fitting between the fingers stretched across the lid). For coffee mugs, there appears to be an alternative to this by-the-top grasp- holding it by the side, placing the middle and ring finger inside the handle to wrap all fingers around the mug<ref>[https://www.tiktok.com/t/ZTR9Q6Y3J/]</ref>. '''Keychain wrap/Carabiner click''' - Symbols have long been a physical item used to identify lesbians because of their history for butch women who worked blue-collar jobs when they didn’t fit the gender expectations of feminine white-collar positions<ref>[https://lesbiannews.com/the-universal-language-of-lesbian-key-rings/#:~:text=While%20the%20keychain%20or%20carabiner,you%20see%20it%20on%20them]</ref>. Since then, the keychain, along with the carabiner, has become a part of “lesbian culture.” Because of this, one mannerism queer women might do is a fidget wrapping their keychain or clicking their carabiner. This action might also be used intentionally to draw attention to their keychain as a way of subtly expressing queerness. == Bisexual Mannerisms == == Queer Culture == == Notes == == References == <references/> b2c8394c66fe1d8a660f1ebeebba7508c668e05e 634 633 2022-10-31T05:11:56Z Amanda.peter 13 wikitext text/x-wiki Queer Mannerisms == Gay Mannerisms == '''Limp Wrist''' - Probably the most well-known queer mannerism is the limp wrist. Historically, the limp wrist has been associated with gay men because of its links to femininity (women’s clothing restricted movement, leaving their wrists limp <ref>[https://gcn.ie/gay-hand-queer-stereotype/</ref>). The gesture has since been used as a stereotype for gay men and queerness, even used as a fill-in for the word “gay” (or queer), such as when someone says, “Is he *limp wrist*?” Though the gesture may sometimes be meant as a derogatory motion, queer individuals have also adopted it as a way of asking if someone else is queer or as a signifier to express that they themselves are queer. The limp wrist has recently become a viral trend on Tik Tok as queer people flopped their wrists to the ding of Doja Cat’s “Kiss Me More.<ref>[https://www.youtube.com/watch?v=QXhWF-l3Xms&t=115s</ref>” '''Snapping''' - Another mannerism frequently associated with gay men is finger snapping, especially to emphasize a point. This action is commonly done in a Z pattern with thee snaps or with a single snap across the shoulders. From this came the term “snap queen,” <ref>[https://www.mindprod.com/ggloss/snapqueen.html</ref> used to refer to an effeminate man who might “punctuate and accentuate communication with finger snaps.” It should be noted that this and other mannerisms adopted by the queer community come directly from Black culture, and there are debates <ref>[https://www.reddit.com/r/askgaybros/comments/4322dl/why_do_gay_men_generally_try_to_imitate_black/</ref> about whether this is an expected result of the crossing of queer and Black communities (especially in drag) or an act of appropriation.<ref>[https://ourliveswisconsin.com/article/dear-queer-white-people-cultural-appropriation/</ref> == Lesbian Mannerisms == '''Lesbian cup hold''' - Queer women, especially lesbians, have noticed a common way of holding their cups by the rims, grabbing the tops with their fingertips<ref>[https://www.tiktok.com/t/ZTR9QYqrm/</ref>. This action can be performed with all types of cups, including coffee mugs, water bottles, and to-go cups with straws (the straw fitting between the fingers stretched across the lid). For coffee mugs, there appears to be an alternative to this by-the-top grasp- holding it by the side, placing the middle and ring finger inside the handle to wrap all fingers around the mug<ref>[https://www.tiktok.com/t/ZTR9Q6Y3J/</ref>. '''Keychain wrap/Carabiner click''' - Symbols have long been a physical item used to identify lesbians because of their history for butch women who worked blue-collar jobs when they didn’t fit the gender expectations of feminine white-collar positions<ref>[https://lesbiannews.com/the-universal-language-of-lesbian-key-rings/#:~:text=While%20the%20keychain%20or%20carabiner,you%20see%20it%20on%20them</ref>. Since then, the keychain, along with the carabiner, has become a part of “lesbian culture.” Because of this, one mannerism queer women might do is a fidget wrapping their keychain or clicking their carabiner. This action might also be used intentionally to draw attention to their keychain as a way of subtly expressing queerness. == Bisexual Mannerisms == == Queer Culture == == Notes == == References == <references/> 53a1588b049c0c1cd51cbbc99b0155f0d45eaf55 635 634 2022-10-31T05:16:39Z Amanda.peter 13 wikitext text/x-wiki Queer Mannerisms == Gay Mannerisms == '''Limp wrist''' - Probably the most well-known queer mannerism is the limp wrist. Historically, the limp wrist has been associated with gay men because of its links to femininity (women’s clothing restricted movement, leaving their wrists limp <ref>[https://gcn.ie/gay-hand-queer-stereotype/</ref>). The gesture has since been used as a stereotype for gay men and queerness, even used as a fill-in for the word “gay” (or queer), such as when someone says, “Is he *limp wrist*?” Though the gesture may sometimes be meant as a derogatory motion, queer individuals have also adopted it as a way of asking if someone else is queer or as a signifier to express that they themselves are queer. The limp wrist has recently become a viral trend on Tik Tok as queer people flopped their wrists to the ding of Doja Cat’s “Kiss Me More.<ref>[https://www.youtube.com/watch?v=QXhWF-l3Xms&t=115s</ref>” '''Snapping''' - Another mannerism frequently associated with gay men is finger snapping, especially to emphasize a point. This action is commonly done in a Z pattern with thee snaps or with a single snap across the shoulders. From this came the term “snap queen,” <ref>[https://www.mindprod.com/ggloss/snapqueen.html</ref> used to refer to an effeminate man who might “punctuate and accentuate communication with finger snaps.” It should be noted that this and other mannerisms adopted by the queer community come directly from Black culture, and there are debates <ref>[https://www.reddit.com/r/askgaybros/comments/4322dl/why_do_gay_men_generally_try_to_imitate_black/</ref> about whether this is an expected result of the crossing of queer and Black communities (especially in drag) or an act of appropriation.<ref>[https://ourliveswisconsin.com/article/dear-queer-white-people-cultural-appropriation/</ref> == Lesbian Mannerisms == '''Lesbian cup hold''' - Queer women, especially lesbians, have noticed a common way of holding their cups by the rims, grabbing the tops with their fingertips<ref>[https://www.tiktok.com/t/ZTR9QYqrm/</ref>. This action can be performed with all types of cups, including coffee mugs, water bottles, and to-go cups with straws (the straw fitting between the fingers stretched across the lid). For coffee mugs, there appears to be an alternative to this by-the-top grasp- holding it by the side, placing the middle and ring finger inside the handle to wrap all fingers around the mug<ref>[https://www.tiktok.com/t/ZTR9Q6Y3J/</ref>. '''Keychain wrap/Carabiner click''' - Symbols have long been a physical item used to identify lesbians because of their history for butch women who worked blue-collar jobs when they didn’t fit the gender expectations of feminine white-collar positions<ref>[https://lesbiannews.com/the-universal-language-of-lesbian-key-rings/#:~:text=While%20the%20keychain%20or%20carabiner,you%20see%20it%20on%20them</ref>. Since then, the keychain, along with the carabiner, has become a part of “lesbian culture.” Because of this, one mannerism queer women might do is a fidget wrapping their keychain or clicking their carabiner. This action might also be used intentionally to draw attention to their keychain as a way of subtly expressing queerness. == Bisexual Mannerisms == '''Bi finger guns''' - Finger guns are possibly the most iconic mannerism in “bi culture,” if not “gay culture,” becoming the subject of many memes, Reddit threads<ref>[https://www.reddit.com/r/bisexual/comments/dkd8cb/how_the_hell_did_finger_guns_become_a_bisexual/</ref>, and even Pride merch<ref>[https://www.etsy.com/listing/1138986114/bi-pride-pin-bisexual-finger-guns-subtle</ref>. The action has become so associated with bisexual people that Urban Dictionary defines it as “a hand gesture that is used by bisexual people as a representation of their bisexuality,” providing the sample sentence- “When she asked me if i liked girls or guys i just panicked and did *finger guns.* <ref>[https://www.urbandictionary.com/define.php?term=*finger%20guns*</ref>” Additionally, some claim to be “peace sign bisexual” in a move similar to the finger guns, though this action is less associated with bisexuality. '''Sitting improperly''' - Another part of bisexual culture is the inability to sit correctly in chairs. Sometimes this means opting for the floor, but generally, it includes sitting lopsided with the feet at different levels (perhaps one on the seat and the other sticking out on the floor. Recognition of the bisexual sitting position grew to the point that a specific seat, the “bi chair,” was created to provide maximum comfort and ease for the unconventional positions. The seat features armrests at different heights and a cut-out of the seat with a footrest for one leg to fold under. == Queer Culture == == Notes == == References == <references/> 9428df16c6c17576d52e04e24085192bace562c8 636 635 2022-10-31T05:18:51Z Amanda.peter 13 wikitext text/x-wiki Queer Mannerisms == Gay Mannerisms == '''Limp wrist''' - Probably the most well-known queer mannerism is the limp wrist. Historically, the limp wrist has been associated with gay men because of its links to femininity (women’s clothing restricted movement, leaving their wrists limp <ref>[https://gcn.ie/gay-hand-queer-stereotype/</ref>). The gesture has since been used as a stereotype for gay men and queerness, even used as a fill-in for the word “gay” (or queer), such as when someone says, “Is he *limp wrist*?” Though the gesture may sometimes be meant as a derogatory motion, queer individuals have also adopted it as a way of asking if someone else is queer or as a signifier to express that they themselves are queer. The limp wrist has recently become a viral trend on Tik Tok as queer people flopped their wrists to the ding of Doja Cat’s “Kiss Me More.<ref>[https://www.youtube.com/watch?v=QXhWF-l3Xms&t=115s</ref>” '''Snapping''' - Another mannerism frequently associated with gay men is finger snapping, especially to emphasize a point. This action is commonly done in a Z pattern with thee snaps or with a single snap across the shoulders. From this came the term “snap queen,” <ref>[https://www.mindprod.com/ggloss/snapqueen.html</ref> used to refer to an effeminate man who might “punctuate and accentuate communication with finger snaps.” It should be noted that this and other mannerisms adopted by the queer community come directly from Black culture, and there are debates <ref>[https://www.reddit.com/r/askgaybros/comments/4322dl/why_do_gay_men_generally_try_to_imitate_black/</ref> about whether this is an expected result of the crossing of queer and Black communities (especially in drag) or an act of appropriation.<ref>[https://ourliveswisconsin.com/article/dear-queer-white-people-cultural-appropriation/</ref> == Lesbian Mannerisms == '''Lesbian cup hold''' - Queer women, especially lesbians, have noticed a common way of holding their cups by the rims, grabbing the tops with their fingertips<ref>[https://www.tiktok.com/t/ZTR9QYqrm/</ref>. This action can be performed with all types of cups, including coffee mugs, water bottles, and to-go cups with straws (the straw fitting between the fingers stretched across the lid). For coffee mugs, there appears to be an alternative to this by-the-top grasp- holding it by the side, placing the middle and ring finger inside the handle to wrap all fingers around the mug<ref>[https://www.tiktok.com/t/ZTR9Q6Y3J/</ref>. '''Keychain wrap/Carabiner click''' - Symbols have long been a physical item used to identify lesbians because of their history for butch women who worked blue-collar jobs when they didn’t fit the gender expectations of feminine white-collar positions<ref>[https://lesbiannews.com/the-universal-language-of-lesbian-key-rings/#:~:text=While%20the%20keychain%20or%20carabiner,you%20see%20it%20on%20them</ref>. Since then, the keychain, along with the carabiner, has become a part of “lesbian culture.” Because of this, one mannerism queer women might do is a fidget wrapping their keychain or clicking their carabiner. This action might also be used intentionally to draw attention to their keychain as a way of subtly expressing queerness. == Bisexual Mannerisms == '''Bi finger guns''' - Finger guns are possibly the most iconic mannerism in “bi culture,” if not “gay culture,” becoming the subject of many memes, Reddit threads<ref>[https://www.reddit.com/r/bisexual/comments/dkd8cb/how_the_hell_did_finger_guns_become_a_bisexual/</ref>, and even Pride merch<ref>[https://www.etsy.com/listing/1138986114/bi-pride-pin-bisexual-finger-guns-subtle</ref>. The action has become so associated with bisexual people that Urban Dictionary defines it as “a hand gesture that is used by bisexual people as a representation of their bisexuality,” providing the sample sentence- “When she asked me if i liked girls or guys i just panicked and did *finger guns.* <ref>[https://www.urbandictionary.com/define.php?term=*finger%20guns*</ref>” Additionally, some claim to be “peace sign bisexual” in a move similar to the finger guns, though this action is less associated with bisexuality. '''Sitting improperly''' - Another part of bisexual culture is the inability to sit correctly in chairs. Sometimes this means opting for the floor, but generally, it includes sitting lopsided with the feet at different levels (perhaps one on the seat and the other sticking out on the floor. Recognition of the bisexual sitting position grew to the point that a specific seat, the “bi chair,<ref>[https://www.out.com/bisexuality/2019/8/30/bi-chair-perfect-queers-who-cant-sit-straight</ref>” was created to provide maximum comfort and ease for the unconventional positions. The seat features armrests at different heights and a cut-out of the seat with a footrest for one leg to fold under. == Queer Culture == == Notes == == References == <references/> f36eafd9ed24dc47a05d766b59a57a7e65b30166 637 636 2022-10-31T05:20:39Z Amanda.peter 13 wikitext text/x-wiki Queer Mannerisms == Gay Mannerisms == '''Limp wrist''' - Probably the most well-known queer mannerism is the limp wrist. Historically, the limp wrist has been associated with gay men because of its links to femininity (women’s clothing restricted movement, leaving their wrists limp <ref>[https://gcn.ie/gay-hand-queer-stereotype/</ref>). The gesture has since been used as a stereotype for gay men and queerness, even used as a fill-in for the word “gay” (or queer), such as when someone says, “Is he *limp wrist*?” Though the gesture may sometimes be meant as a derogatory motion, queer individuals have also adopted it as a way of asking if someone else is queer or as a signifier to express that they themselves are queer. The limp wrist has recently become a viral trend on Tik Tok as queer people flopped their wrists to the ding of Doja Cat’s “Kiss Me More.<ref>[https://www.youtube.com/watch?v=QXhWF-l3Xms&t=115s</ref>” '''Snapping''' - Another mannerism frequently associated with gay men is finger snapping, especially to emphasize a point. This action is commonly done in a Z pattern with thee snaps or with a single snap across the shoulders. From this came the term “snap queen,” <ref>[https://www.mindprod.com/ggloss/snapqueen.html</ref> used to refer to an effeminate man who might “punctuate and accentuate communication with finger snaps.” It should be noted that this and other mannerisms adopted by the queer community come directly from Black culture, and there are debates <ref>[https://www.reddit.com/r/askgaybros/comments/4322dl/why_do_gay_men_generally_try_to_imitate_black/</ref> about whether this is an expected result of the crossing of queer and Black communities (especially in drag) or an act of appropriation.<ref>[https://ourliveswisconsin.com/article/dear-queer-white-people-cultural-appropriation/</ref> == Lesbian Mannerisms == '''Lesbian cup hold''' - Queer women, especially lesbians, have noticed a common way of holding their cups by the rims, grabbing the tops with their fingertips<ref>[https://www.tiktok.com/t/ZTR9QYqrm/</ref>. This action can be performed with all types of cups, including coffee mugs, water bottles, and to-go cups with straws (the straw fitting between the fingers stretched across the lid). For coffee mugs, there appears to be an alternative to this by-the-top grasp- holding it by the side, placing the middle and ring finger inside the handle to wrap all fingers around the mug<ref>[https://www.tiktok.com/t/ZTR9Q6Y3J/</ref>. '''Keychain wrap/Carabiner click''' - Symbols have long been a physical item used to identify lesbians because of their history for butch women who worked blue-collar jobs when they didn’t fit the gender expectations of feminine white-collar positions<ref>[https://lesbiannews.com/the-universal-language-of-lesbian-key-rings/#:~:text=While%20the%20keychain%20or%20carabiner,you%20see%20it%20on%20them</ref>. Since then, the keychain, along with the carabiner, has become a part of “lesbian culture.” Because of this, one mannerism queer women might do is a fidget wrapping their keychain or clicking their carabiner. This action might also be used intentionally to draw attention to their keychain as a way of subtly expressing queerness. == Bisexual Mannerisms == '''Bi finger guns''' - Finger guns are possibly the most iconic mannerism in “bi culture,” if not “gay culture,” becoming the subject of many memes, Reddit threads<ref>[https://www.reddit.com/r/bisexual/comments/dkd8cb/how_the_hell_did_finger_guns_become_a_bisexual/</ref>, and even Pride merch<ref>[https://www.etsy.com/listing/1138986114/bi-pride-pin-bisexual-finger-guns-subtle</ref>. The action has become so associated with bisexual people that Urban Dictionary defines it as “a hand gesture that is used by bisexual people as a representation of their bisexuality,” providing the sample sentence- “When she asked me if i liked girls or guys i just panicked and did *finger guns.* <ref>[https://www.urbandictionary.com/define.php?term=*finger%20guns*</ref>” Additionally, some claim to be “peace sign bisexual” in a move similar to the finger guns, though this action is less associated with bisexuality. '''Sitting improperly''' - Another part of bisexual culture is the inability to sit correctly in chairs. Sometimes this means opting for the floor, but generally, it includes sitting lopsided with the feet at different levels (perhaps one on the seat and the other sticking out on the floor. Recognition of the bisexual sitting position grew to the point that a specific seat, the “bi chair,<ref>[https://www.out.com/bisexuality/2019/8/30/bi-chair-perfect-queers-who-cant-sit-straight</ref>” was created to provide maximum comfort and ease for the unconventional positions. The seat features armrests at different heights and a cut-out of the seat with a footrest for one leg to fold under. == Queer Culture == Through mannerisms and other commonalities, queer people have created a silent language, a way to wordlessly express their queerness. Further, they create a “culture” - gay culture, lesbian culture, bi culture, etc. This shared culture then builds community, a safe space for queer individuals to come together around more than just mannerisms and cuffed jeans. This foreground of seemingly unimportant things opens a way for communication and a place to share all of the joys and struggles that come with queerness- shared or not. Clearly, using these mannerisms doesn’t necessitate identification with a particular group or queerness in general. Likewise, not everyone who considers themself queer or a member of any of these particular groups will demonstrate these mannerisms- a bisexual person need not use finger guns, and a lesbian can hold her cup from the side. However, this does not exclude them from the community shared by queer people. This page only covers a small number of mannerisms from a very limited set of queer identities, and there are plenty of other ways queer people can connect. The community is large, and no people experience their queer lives the same. Queer mannerisms are just one of the many ways to connect and share in this culture and community. == References == <references/> e3d1b5e78acd1ae311b685673118b2ef20575c38 0 67 638 2022-10-31T10:43:41Z Luretame 6 Created page with "== Jojo's Bizarre as Queer Identifier == Jojo’s Bizarre Adventure (JJBA) is a Japanese manga series created by Hirohiko Araki, centering around multiple descendants of the central Joestar family through their journeys, battles, and adventures with supernatural forces of malevolence. A top-rated series, Jojo’s Bizarre Adventure is popular for its longevity, musical and pop culture references, and camp art style and poses. Due to its aforementioned camp style, Jojo’s..." wikitext text/x-wiki == Jojo's Bizarre as Queer Identifier == Jojo’s Bizarre Adventure (JJBA) is a Japanese manga series created by Hirohiko Araki, centering around multiple descendants of the central Joestar family through their journeys, battles, and adventures with supernatural forces of malevolence. A top-rated series, Jojo’s Bizarre Adventure is popular for its longevity, musical and pop culture references, and camp art style and poses. Due to its aforementioned camp style, Jojo’s Bizarre Adventure has often been associated with queerness, an association that the creator, Araki, has embraced and continued to incorporate in its eight-part, thirty-five-year run, and is widely popular within the queer community. === Queer coding in fashion and art === Jojo’s Bizarre Adventure is wildly famous for its poses. The poses are camp, unconventional, and body-breaking. They avoid all means of remaining aligned with a specific gender or performance of masculinity despite its existence within the action and adventure drama. Despite being a series inspired by hypermasculine and violence-obsessed predecessors such as Fist of the North Star, Rocky, and Rambo, Jojo’s poses do not exist to exemplify masculinity or action, which would require a rejection of non-anger-identified emotions, but instead exemplify emotions such as cunningness, pride, confidence. These emotions are further filtered through sexuality, but seductive energy rather than hypermasculine dominance <ref>An essay about JoJo’s Bizarre Adventure and queer masculinities [https://urbanfriendden.medium.com/an-essay-about-jojos-bizarre-adventure-and-queer-masculinities-5d3b5f25567b]</ref> . As a result of this, much of Araki’s references for character poses are from haute couture, fashion illustrators such as Antonio Lopez, fashion photographers such as Bruce Weber and Patrick Demarchelier, and brands such as Versace, Vogue, Elle, and Gucci. Most of his model inspirations are women but are filtered through the muscular male protagonists in the first three parts, breaking the masculine figure in a manner comparable to the performance art of ballroom voguing (Jojo Wiki). In further parts, JJBA’s style transitions into having less muscular bodies, signifying Araki’s breaking away from traditional shonen manga male depictions. Within these characters, Araki more deeply explores the intermingling of the feminine and the masculine. Characters like the fourth part Josuke Higashitaka are modeled after Prince, an artist known for his queering within fashion, and the character further alters the Prince-inspired outfit by adorning it with heart-shaped pendants. Character designs such as Giorno Giovanna’s feature a pink suit with a heart-shaped cutout on the chest, a lean build, and long blonde, intricately styled hair. Part Five is particularly notable for its gender-breaking fashion. Male outfits are particularly impractical and dramatic, and even borrow elements of kink and haute couture fashion for the sake of. Part Six’s protagonist, Jolyne Cujoh, features a muscular build many mangakas denied female characters (Ferdinand). Why is this the case? No one in these worlds acknowledges the impractical, flamboyant, and norm-breaking roles their outfits play; they simply just wear them. Through Jojo's fashion and the lack of in-world questioning of it, Araki’s world queers itself from the real world. === Queer coding in character interactions === Jojo’s Bizarre Adventure, for the most part, does not particularly concern itself with creating clearly-identified queer characters. However, the series does not disassociate itself from expressions of queerness, rather utilizing them as a depth-defining characteristic -- in short, queerness is not something the characters are, but something they actively do -- queerness is a verb in the bizarre world Araki has generated. In JJBA, queering is not something that one is, but something that the characters actively do. In Enculturation - queer ethos, there is a discussion of the "assimilated queer", the queer that is gay or lesbian but does not ‘put it in anyone's face” and does what they are supposed to do societally (Enculturation). This is oftentimes the case when queer characters are depicted in media - queer is not something they do, but something that they are, and their queerness is displayed simply in name and not through their actions. There is merit to this; it is an avoidance of the late twentieth-century to early twenty-first-century queer characters who lacked depth beyond their queerness, yet there is homonormativity and conformity through its rejection of queer identifiers within characters entirely. However, JJBA opts for the verbing of queer rather than the noun. Characters within the series “perform” queer, they are the definition of disidentification: the placement of the queer and artistic, seductive feminine within the hypermasculine archetypal character. In the fanbase for the series, there is much speculation about which characters are or are not queer in identity, with some being confirmed by Araki and others not, but it is important to note that the fanbase does not rely on the canonization of queer identities by Araki to accept it amongst themselves. Even though Joseph Joestar, the protagonist of the second JJBA part, is likely heterosexual, the fans choose to envision a homoerotic relationship between him and his companion during the arc, Caesar Zeppeli, and in these discussions, there is no widespread opposition. It is not due to an understanding that the homoerotic identifier being assigned to Joseph is a joke that there is no opposition, but due to a widespread understanding that queering is more than an identity, it is a verb, and it is something Joseph and Caesar do through their interactions with one another, and therefore, it is realistic to suggest a queer relationship between the two. In every part, there is queer identity interlaid. More examples include Speedwagon in Part one of JJBA, who is initially presented as the stereotypical loyal ally to the protagonist of the part, Jonathan Joestar. His sexuality in Araki’s eyes is never made explicit, but he is shown using the Japanese word, “suki”, to describe his affection for Jonathan, a word one would not throw around casually. His immediate and rapid emotional dedication to Jonathan complicates any notion of simple friendship, and he even breaks into a hospital to hold Jonathan's hand while he is ill (Earthbovnd). Another example lies within Tiziano and Squalo, who are enemies in the fifth JJBA part. While discussing strategy with Squalo, Tiziano caresses his chest gently. It is not comedic in nature, nor can it be described as fanservice; it is not relevant to the plot, yet it is something that happens. Queerness, which the action of doing has been shamed throughout a queer type of respectability politics, is done here. Even though the protagonist of Part six, Jolyne, is a woman in a shonen manga, Araki practices disidentification by placing a woman within the male-identified genre, and Jolyne exists within the same flamboyancy, yet maintains a muscular build often criticized in the straight male gaze. Araki continues on to further disrupt the genre in Part Seven, where a considerably feminine-presenting disabled man is the protagonist. === As a Queer Identifier === Due to its nature as queering, being a fan of Jojo’s Bizarre Adventure is considered to be a signifier of queer identity. One popular joke amongst fans of the show is the phrase, “Jojo makes you gay”. This phrase can mean that the show turns individuals gay, but furthermore, that the show exists as a precursor to discovering one’s gay identity. For many, the latter is actually the case, but in order to consume the series, there are paradigms one must either be open to or become open to, which opens one up to queer theory. Both in the Western and Eastern eye, viewers must be open to a new sort of queer masculinity unseen in anime to the depths in which Araki explores it (Ferdinand), and must also understand the value of the queering that takes place in the series, using it as a vehicle for further analysis and appreciation of what Araki values as romance and love between two characters, aside from gender, which queers the idea of romance. Due to this, Jojo fans are often associated with queer identity and JJBA itself as an identifier of queerness. 0b20294a5eded3827e304bc1e95b42c456c3659a 639 638 2022-10-31T10:44:58Z Luretame 6 wikitext text/x-wiki Jojo’s Bizarre Adventure (JJBA) is a Japanese manga series created by Hirohiko Araki, centering around multiple descendants of the central Joestar family through their journeys, battles, and adventures with supernatural forces of malevolence. A top-rated series, Jojo’s Bizarre Adventure is popular for its longevity, musical and pop culture references, and camp art style and poses. Due to its aforementioned camp style, Jojo’s Bizarre Adventure has often been associated with queerness, an association that the creator, Araki, has embraced and continued to incorporate in its eight-part, thirty-five-year run, and is widely popular within the queer community. == Queer coding in fashion and art == Jojo’s Bizarre Adventure is wildly famous for its poses. The poses are camp, unconventional, and body-breaking. They avoid all means of remaining aligned with a specific gender or performance of masculinity despite its existence within the action and adventure drama. Despite being a series inspired by hypermasculine and violence-obsessed predecessors such as Fist of the North Star, Rocky, and Rambo, Jojo’s poses do not exist to exemplify masculinity or action, which would require a rejection of non-anger-identified emotions, but instead exemplify emotions such as cunningness, pride, confidence. These emotions are further filtered through sexuality, but seductive energy rather than hypermasculine dominance <ref>An essay about JoJo’s Bizarre Adventure and queer masculinities [https://urbanfriendden.medium.com/an-essay-about-jojos-bizarre-adventure-and-queer-masculinities-5d3b5f25567b]</ref>. As a result of this, much of Araki’s references for character poses are from haute couture, fashion illustrators such as Antonio Lopez, fashion photographers such as Bruce Weber and Patrick Demarchelier, and brands such as Versace, Vogue, Elle, and Gucci. Most of his model inspirations are women but are filtered through the muscular male protagonists in the first three parts, breaking the masculine figure in a manner comparable to the performance art of ballroom voguing (Jojo Wiki). In further parts, JJBA’s style transitions into having less muscular bodies, signifying Araki’s breaking away from traditional shonen manga male depictions. Within these characters, Araki more deeply explores the intermingling of the feminine and the masculine. Characters like the fourth part Josuke Higashitaka are modeled after Prince, an artist known for his queering within fashion, and the character further alters the Prince-inspired outfit by adorning it with heart-shaped pendants. Character designs such as Giorno Giovanna’s feature a pink suit with a heart-shaped cutout on the chest, a lean build, and long blonde, intricately styled hair. Part Five is particularly notable for its gender-breaking fashion. Male outfits are particularly impractical and dramatic, and even borrow elements of kink and haute couture fashion for the sake of. Part Six’s protagonist, Jolyne Cujoh, features a muscular build many mangakas denied female characters (Ferdinand). Why is this the case? No one in these worlds acknowledges the impractical, flamboyant, and norm-breaking roles their outfits play; they simply just wear them. Through Jojo's fashion and the lack of in-world questioning of it, Araki’s world queers itself from the real world. == Queer coding in character interactions == Jojo’s Bizarre Adventure, for the most part, does not particularly concern itself with creating clearly-identified queer characters. However, the series does not disassociate itself from expressions of queerness, rather utilizing them as a depth-defining characteristic -- in short, queerness is not something the characters are, but something they actively do -- queerness is a verb in the bizarre world Araki has generated. In JJBA, queering is not something that one is, but something that the characters actively do. In Enculturation - queer ethos, there is a discussion of the "assimilated queer", the queer that is gay or lesbian but does not ‘put it in anyone's face” and does what they are supposed to do societally (Enculturation). This is oftentimes the case when queer characters are depicted in media - queer is not something they do, but something that they are, and their queerness is displayed simply in name and not through their actions. There is merit to this; it is an avoidance of the late twentieth-century to early twenty-first-century queer characters who lacked depth beyond their queerness, yet there is homonormativity and conformity through its rejection of queer identifiers within characters entirely. However, JJBA opts for the verbing of queer rather than the noun. Characters within the series “perform” queer, they are the definition of disidentification: the placement of the queer and artistic, seductive feminine within the hypermasculine archetypal character. In the fanbase for the series, there is much speculation about which characters are or are not queer in identity, with some being confirmed by Araki and others not, but it is important to note that the fanbase does not rely on the canonization of queer identities by Araki to accept it amongst themselves. Even though Joseph Joestar, the protagonist of the second JJBA part, is likely heterosexual, the fans choose to envision a homoerotic relationship between him and his companion during the arc, Caesar Zeppeli, and in these discussions, there is no widespread opposition. It is not due to an understanding that the homoerotic identifier being assigned to Joseph is a joke that there is no opposition, but due to a widespread understanding that queering is more than an identity, it is a verb, and it is something Joseph and Caesar do through their interactions with one another, and therefore, it is realistic to suggest a queer relationship between the two. In every part, there is queer identity interlaid. More examples include Speedwagon in Part one of JJBA, who is initially presented as the stereotypical loyal ally to the protagonist of the part, Jonathan Joestar. His sexuality in Araki’s eyes is never made explicit, but he is shown using the Japanese word, “suki”, to describe his affection for Jonathan, a word one would not throw around casually. His immediate and rapid emotional dedication to Jonathan complicates any notion of simple friendship, and he even breaks into a hospital to hold Jonathan's hand while he is ill (Earthbovnd). Another example lies within Tiziano and Squalo, who are enemies in the fifth JJBA part. While discussing strategy with Squalo, Tiziano caresses his chest gently. It is not comedic in nature, nor can it be described as fanservice; it is not relevant to the plot, yet it is something that happens. Queerness, which the action of doing has been shamed throughout a queer type of respectability politics, is done here. Even though the protagonist of Part six, Jolyne, is a woman in a shonen manga, Araki practices disidentification by placing a woman within the male-identified genre, and Jolyne exists within the same flamboyancy, yet maintains a muscular build often criticized in the straight male gaze. Araki continues on to further disrupt the genre in Part Seven, where a considerably feminine-presenting disabled man is the protagonist. == As a Queer Identifier == Due to its nature as queering, being a fan of Jojo’s Bizarre Adventure is considered to be a signifier of queer identity. One popular joke amongst fans of the show is the phrase, “Jojo makes you gay”. This phrase can mean that the show turns individuals gay, but furthermore, that the show exists as a precursor to discovering one’s gay identity. For many, the latter is actually the case, but in order to consume the series, there are paradigms one must either be open to or become open to, which opens one up to queer theory. Both in the Western and Eastern eye, viewers must be open to a new sort of queer masculinity unseen in anime to the depths in which Araki explores it (Ferdinand), and must also understand the value of the queering that takes place in the series, using it as a vehicle for further analysis and appreciation of what Araki values as romance and love between two characters, aside from gender, which queers the idea of romance. Due to this, Jojo fans are often associated with queer identity and JJBA itself as an identifier of queerness. == References == 45ca4eec17babc067be747e68fc5b029ae73a100 640 639 2022-10-31T10:51:41Z Luretame 6 wikitext text/x-wiki Jojo’s Bizarre Adventure (JJBA) is a Japanese manga series created by Hirohiko Araki, centering around multiple descendants of the central Joestar family through their journeys, battles, and adventures with supernatural forces of malevolence. A top-rated series, Jojo’s Bizarre Adventure is popular for its longevity, musical and pop culture references, and camp art style and poses. Due to its aforementioned camp style, Jojo’s Bizarre Adventure has often been associated with queerness, an association that the creator, Araki, has embraced and continued to incorporate in its eight-part, thirty-five-year run, and is widely popular within the queer community. == Queer coding in fashion and art == Jojo’s Bizarre Adventure is wildly famous for its poses. The poses are camp, unconventional, and body-breaking. They avoid all means of remaining aligned with a specific gender or performance of masculinity despite its existence within the action and adventure drama. Despite being a series inspired by hypermasculine and violence-obsessed predecessors such as Fist of the North Star, Rocky, and Rambo, Jojo’s poses do not exist to exemplify masculinity or action, which would require a rejection of non-anger-identified emotions, but instead exemplify emotions such as cunningness, pride, confidence. These emotions are further filtered through sexuality, but seductive energy rather than hypermasculine dominance <ref>An essay about JoJo’s Bizarre Adventure and queer masculinities [https://urbanfriendden.medium.com/an-essay-about-jojos-bizarre-adventure-and-queer-masculinities-5d3b5f25567b]</ref>. As a result of this, much of Araki’s references for character poses are from haute couture, fashion illustrators such as Antonio Lopez, fashion photographers such as Bruce Weber and Patrick Demarchelier, and brands such as Versace, Vogue, Elle, and Gucci. Most of his model inspirations are women but are filtered through the muscular male protagonists in the first three parts, breaking the masculine figure in a manner comparable to the performance art of ballroom voguing <ref>Jojo Wiki, Reference Gallery [https://jojowiki.com/Reference_Gallery#1]</ref>. In further parts, JJBA’s style transitions into having less muscular bodies, signifying Araki’s breaking away from traditional shonen manga male depictions. Within these characters, Araki more deeply explores the intermingling of the feminine and the masculine. Characters like the fourth part Josuke Higashitaka are modeled after Prince, an artist known for his queering within fashion, and the character further alters the Prince-inspired outfit by adorning it with heart-shaped pendants. Character designs such as Giorno Giovanna’s feature a pink suit with a heart-shaped cutout on the chest, a lean build, and long blonde, intricately styled hair. Part Five is particularly notable for its gender-breaking fashion. Male outfits are particularly impractical and dramatic, and even borrow elements of kink and haute couture fashion for the sake of. Part Six’s protagonist, Jolyne Cujoh, features a muscular build many mangakas denied female characters <ref>An essay about JoJo’s Bizarre Adventure and queer masculinities [https://urbanfriendden.medium.com/an-essay-about-jojos-bizarre-adventure-and-queer-masculinities-5d3b5f25567b]</ref>. Why is this the case? No one in these worlds acknowledges the impractical, flamboyant, and norm-breaking roles their outfits play; they simply just wear them. Through Jojo's fashion and the lack of in-world questioning of it, Araki’s world queers itself from the real world. == Queer coding in character interactions == Jojo’s Bizarre Adventure, for the most part, does not particularly concern itself with creating clearly-identified queer characters. However, the series does not disassociate itself from expressions of queerness, rather utilizing them as a depth-defining characteristic. In short, queerness is not something the characters are, but something they actively do; queerness is a verb in the bizarre world Araki has generated. In JJBA, queering is not something that one is, but something that the characters actively do. In Enculturation - queer ethos, there is a discussion of the "assimilated queer", the queer that is gay or lesbian but does not ‘put it in anyone's face” and does what they are supposed to do societally <ref>Ethos, or Get Used to It [https://www.enculturation.net/files/QueerRhetoric/queerarchive/ethos.html]</ref>. This is oftentimes the case when queer characters are depicted in media - queer is not something they do, but something that they are, and their queerness is displayed simply in name and not through their actions. There is merit to this; it is an avoidance of the late twentieth-century to early twenty-first-century queer characters who lacked depth beyond their queerness, yet there is homonormativity and conformity through its rejection of queer identifiers within characters entirely. However, JJBA opts for the verbing of queer rather than the noun. Characters within the series “perform” queer, they are the definition of disidentification: the placement of the queer and artistic, seductive feminine within the hypermasculine archetypal character. In the fanbase for the series, there is much speculation about which characters are or are not queer in identity, with some being confirmed by Araki and others not, but it is important to note that the fanbase does not rely on the canonization of queer identities by Araki to accept it amongst themselves. Even though Joseph Joestar, the protagonist of the second JJBA part, is likely heterosexual, the fans choose to envision a homoerotic relationship between him and his companion during the arc, Caesar Zeppeli, and in these discussions, there is no widespread opposition. It is not due to an understanding that the homoerotic identifier being assigned to Joseph is a joke that there is no opposition, but due to a widespread understanding that queering is more than an identity, it is a verb, and it is something Joseph and Caesar do through their interactions with one another, and therefore, it is realistic to suggest a queer relationship between the two. In every part, there is queer identity interlaid. More examples include Speedwagon in Part one of JJBA, who is initially presented as the stereotypical loyal ally to the protagonist of the part, Jonathan Joestar. His sexuality in Araki’s eyes is never made explicit, but he is shown using the Japanese word, “suki”, to describe his affection for Jonathan, a word one would not throw around casually. His immediate and rapid emotional dedication to Jonathan complicates any notion of simple friendship, and he even breaks into a hospital to hold Jonathan's hand while he is ill <ref> Some rather interesting JoJo finds I’ve made recently… (Part 1 of 2) [https://earthbovndmisfit.tumblr.com/post/176006005974/some-rather-interesting-jojo-finds-ive-made]</ref>. Another example lies within Tiziano and Squalo, who are enemies in the fifth JJBA part. While discussing strategy with Squalo, Tiziano caresses his chest gently. It is not comedic in nature, nor can it be described as fanservice; it is not relevant to the plot, yet it is something that happens. Queerness, which the action of doing has been shamed throughout a queer type of respectability politics, is done here, and it is not concerned with whether or not it is necessary, relevant, or important when it happens. In semblance to low theory, it does not try to meet a standard in whether or not it should. Even though the protagonist of Part six, Jolyne, is a woman in a shonen manga, Araki practices disidentification by placing a woman within the male-identified genre, and Jolyne exists within the same flamboyancy, yet maintains a muscular build often criticized in the straight male gaze. Araki continues on to further disrupt the genre in Part Seven, where a considerably feminine-presenting disabled man is the protagonist. == As a Queer Identifier == Due to its nature as queering, being a fan of Jojo’s Bizarre Adventure is considered to be a signifier of queer identity. One popular joke amongst fans of the show is the phrase, “Jojo makes you gay”. This phrase can mean that the show turns individuals gay, but furthermore, that the show exists as a precursor to discovering one’s gay identity. For many, the latter is actually the case, but in order to consume the series, there are paradigms one must either be open to or become open to, which opens one up to queer theory. Both in the Western and Eastern eye, viewers must be open to a new sort of queer masculinity unseen in anime to the depths in which Araki explores it <ref>An essay about JoJo’s Bizarre Adventure and queer masculinities [https://urbanfriendden.medium.com/an-essay-about-jojos-bizarre-adventure-and-queer-masculinities-5d3b5f25567b]</ref>, and must also understand the value of the queering that takes place in the series, using it as a vehicle for further analysis and appreciation of what Araki values as romance and love between two characters, aside from gender, which queers the idea of romance. Due to this, Jojo fans are often associated with queer identity and JJBA itself as an identifier of queerness. == References == 4a669003481ad15e46c850816a43aac4952d9b34 0 56 641 567 2022-10-31T17:04:43Z 138.237.15.16 0 wikitext text/x-wiki = Definitions of Queer Coding = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University "Dialogue" Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. = What is the Spirit of Queer? = -Destroying the table -Not neutral -Does not require validation to be valid -Remove the restrictions of binaries and labels and boxes -Challenges of ideologies of identity (disidentification) -Systems of identifying - calls to question the system(s) of oppression -Intersectionality -Queer as a verb -Awareness of positionality -Everything is possible<ref>WRIT 30243.074 (75487) Syllabus</ref> = Examples of Queer Coding in Media = [[Queer Coding in Descendants]] <br> [[Queer Coding in Pitch Perfect]] <br> [[Queer coding in Lemonade mouth]] <br> [[Queer Coding in High School Musical]]<br> = External Links = [https://www.youtube.com/watch?v=GsO4fZYHQic The History of Queer Coding] at [https://www.youtube.com/playlist?list=PLhADVL2AiGX88GI9QGaj5oze39ihKcXwQ Jessica Kellgren-Fozard] [https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164 Queer-coded Villains (And Why You Should Care)] at [https://dialogues.rutgers.edu Dialogues at Rutgers] = References = 9020b2a37bd0a188f062210360c8971d561a5788 642 641 2022-10-31T17:05:03Z 138.237.15.16 0 /* What is the Spirit of Queer? */ wikitext text/x-wiki = Definitions of Queer Coding = Queer-coding refers to the implicit references that “present” a character as not straight but does not explicitly state their sexual orientation. Queer-coding in media stemmed from the bleak history of banning homosexuality in film by predominant motion picture companies at the height of cinema in the 1930s <ref>[https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164] Rutgers University "Dialogue" Academic Journal</ref>. Queer-coded media and characters can be viewed in a variety of ways, primarily either as an earnest--yet subtle--disruption of heteronormativity or a miniscule faux-progressive approach to inclusion. = What is the Spirit of Queer? = -Destroying the table -Not neutral -Does not require validation to be valid -Remove the restrictions of binaries and labels and boxes -Challenges of ideologies of identity (disidentification) -Systems of identifying - calls to question the system(s) of oppression -Intersectionality -Queer as a verb -Awareness of positionality -Everything is possible<ref>WRIT 30243.074 (75487) Syllabus</ref> = Examples of Queer Coding in Media = [[Queer Coding in Descendants]] <br> [[Queer Coding in Pitch Perfect]] <br> [[Queer coding in Lemonade mouth]] <br> [[Queer Coding in High School Musical]]<br> = External Links = [https://www.youtube.com/watch?v=GsO4fZYHQic The History of Queer Coding] at [https://www.youtube.com/playlist?list=PLhADVL2AiGX88GI9QGaj5oze39ihKcXwQ Jessica Kellgren-Fozard] [https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164 Queer-coded Villains (And Why You Should Care)] at [https://dialogues.rutgers.edu Dialogues at Rutgers] = References = d0628efbedaa6f63033d011b180abe35da4ca4cb 0 58 643 565 2022-10-31T17:10:47Z 138.237.15.16 0 /* Mal and Ben */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== "beautiful girl/ugly guy" queers expectations of relationships -> nerd usually has to transform into an attractive popular person before they get the girl economically queer ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 024b4dfa62631cd472adaa79f05d5d3db6ea34c7 644 643 2022-10-31T17:45:26Z 138.237.15.16 0 /* Evie and Doug */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== USA, rich vs poverty activism “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== a2b59b95c0503e2199ebc0f4a99bd62e7260bef7 645 644 2022-10-31T17:46:19Z 138.237.15.16 0 /* In the Society */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== USA, rich vs poverty activism Queers race: Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…” - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 4d70d538ef78163573b13f3320d6276db53d605d 646 645 2022-10-31T17:47:24Z 138.237.15.16 0 /* In the Society */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== USA, rich vs poverty activism Queers race: Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…” - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== ba16a441e38c03e3e6ae1b339820f91f4e357378 647 646 2022-10-31T17:49:06Z 138.237.15.16 0 /* In the Society */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== USA, rich vs poverty activism Queers race: <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…” </blockquote> - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) POCs are white coded ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== f19d14d9465640c26bb15a088b816715beb06908 648 647 2022-10-31T17:50:58Z 138.237.15.16 0 /* Criticism */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== USA, rich vs poverty activism Queers race: <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…” </blockquote> - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Ask Deja her opinions on Cece - comes off as tokenism because she does little in the movie for plot but is always there - Defies stereotypes with her relationship to her father (initially unexpected cuz he didn’t see her off) - Also she acts like a kid, does not adhere to stereotypes for black people/black children - However, her role is ultimately damsel—not necessarily harmful unless you consider Mal (white) is the one to save her (white savior) Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 843203af102791954eefe5eba0deba4250dad9b8 649 648 2022-10-31T18:03:46Z 138.237.15.16 0 /* Intersectionality */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== USA, rich vs poverty activism Queers race: <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…” </blockquote> - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 8bafd73e3e9465185487bb7f9c8438a35879eab3 0 60 650 466 2022-10-31T19:13:35Z Efbanks 5 wikitext text/x-wiki == Why are straight women queer icons? == While there is no universal answer for why straight women are gay icons, there are many beliefs on why. In José Muñoz’ book Disidentifications, he states that he believes that there is a queerness in identifying with a certain figure of popular culture as a “coping mechanism” to feel a sense of belonging in a heteronormative culture. These strong female figures in popular media are both models of strength as well as comfort. By watching women exude confidence through the media, the queer community aligns that confidence with the support that they can also feel this same acceptance with their identity. == Britney Spears == Britney Spears, a straight woman, has been a major gay icon in popular culture. While her music is a staple in gay bars, the figure of “Britney Spears” is just as iconic. This can be attributed to her campy persona and her acquisition of her embraced sexuality throughout her career. When Spears first entered stardom, she was infamous for her virginity and overall squeaky-clean image. However, as her career developed, she began toying with her public sexuality. Before this, her fanbase tended to be more geared towards teenage girls who loved to listen to her bubblegum-pop style of music. As Spears began to lean into her public image of scandal, the queer community idolized her ability to stay true to herself. Even when Britney went through her early-200’s “trainwreck phase”, the queer community felt sympathy for Britney and her vulnerability in the media. In a viral YouTube video by Chris Crocker titled “Leave Britney Alone”, Crocker, a queer man, cries out for his support of Britney Spears. The video was made in 2007, during the depths of Britney’s public “meltdowns”. Not only has Britney been a gay icon for her presence, but she has also been active in her support for the LGBTQ+ community, both through her words and through her actions taken to fight for gay rights. She has partnered with many organizations such as GLAAD and Equality Florida for multiple events to help raise money for the LGBTQ+ community. Britney has signed an open letter alongside other celebrities to show her disdain for two anti-LGBTQ+ bills in Texas. Both of the bills were defeated thanks to the awareness raised from public figures. == Diana Ross and "I'm Coming Out" == Diana Ross is a pop legend from the 1980’s with multiple hit songs that have reached iconic status. Specifically, her song “I’m Coming Out” from her “Diana” album released in 1980 was one of the first “gay anthems”. The lyrics in the song suggest themes of self-acceptance and confidence in oneself. The title alone closely mirrors “coming out of the closet”, a term used by the LGBTQ+ community for declaring their sexuality after hiding it. Lyrics such as “I’m coming out, I want the world to know, got to let it show” coincide perfectly with a sense of pride in one’s identity. While Diana Ross has never acknowledged the meaning of the song publicly, her songwriter, Nile Rodgers has spoken about his process in writing the song. Rogers claimed that his inspiration for the song was after visiting a gay club and seeing multiple drag queens dressed as Ross. Realizing that Ross was a gay icon, Rogers got inspiration from the music playing at the club and created “I’m Coming Out.” He wrote the song to pay homage for a fanbase that has gone mostly unrecognized and unappreciated. == Taylor Swift and her Controversy == Taylor Swift is a current popular artist whose sexuality has been widely-speculated throughout her career. As a younger pop artist, Taylor Swift was infamous for writing about her public relationships and breakups. Taylor Swift was constantly ridiculed and slut-shamed during her teenage years going into her twenties about the number of public boyfriends she had. Rumors about Swift being bisexual began in 2013 after fans began noticing that her friendship with supermodel Karlie Kloss. Swift has slyly acknowledged these rumors as false in an interview with Vogue 2019. Despite this, many fans have created deep dives into the queerness of Taylor Swift. There is a popular rumor within the believers of Taylor Swift and Karlie Kloss saga that Swift’s 7th album “Lover” was going to be her “coming out album”, however, Kloss left her for Donald Trump-aligned Joshua Kushner. Swift has spoken in alliance with the LGBTQ+ community many times, beginning with her public disdain for Tennessee senatorial candidate Marsha Blackburn. Blackburn has been openly-homophobic in her comments made to the public. Swift’s alliance with the LGBTQ+ community has been mocked for being “performative” in songs such as “Welcome to New York” and “You Need to Calm Down.” In “Welcome to New York”, a song from her 6th album, “1989”, she includes the lyrics “You can want who you want, boys and boys and girls and girls.” Many fans found this an awkwardly-cheesy line in the song that felt as if Swift was checking a box to support the LGBTQ+ community. Similarly, Swift released “You Need to Calm Down” as a single from her “Lover” album in June 2019 as an anthem for Pride month. People were torn in decoding the meaning of this song. Some believed it to be an indication of Swift’s own sexuality, while others accused Swift to be queer-baiting for attention. Swift’s outspoken support has split the LGBTQ+ community into their beliefs of her intentions. Swift, who is known to be cryptic, has been thought to have been alluding to her bisexuality for years throughout songs and clothing choices. However, some believe that this is on purpose for attention. There is a popular belief that she is simply a heterosexual woman who tries to lure in the queer community into thinking that she is close to coming out. == The debate over straight women as queer icons == Many artists have faced backlash in their accommodations to the queer community. Some feel encouraged that straight pop culture legends are advocating for the LGBTQ+ community. Heterosexual men and women are at the head of popular culture—despite the fact that there has been more inclusion in the past few years. It can be argued that the first step to equality is the recognition and appreciation from these pop artists whose careers and cultures have stemmed from the gay community. Some disagree and believe that only queer figures in popular culture should be proper “gay icons.” These people feel as if marketing towards the queer community is solely for personal gain. Whether it is profit or an overall likeability, it is criticized by some. c9930d2760db0956c4a09755ea5393562a3d260d 651 650 2022-10-31T19:16:20Z Efbanks 5 /* Why are straight women queer icons? */ wikitext text/x-wiki == Why are straight women queer icons? == While there is no universal answer for why straight women are gay icons, there are many beliefs on why. In José Muñoz’ book Disidentifications<ref> [https://www.upress.umn.edu/book-division/books/disidentifications</ref> he states that he believes that there is a queerness in identifying with a certain figure of popular culture as a “coping mechanism” to feel a sense of belonging in a heteronormative culture. These strong female figures in popular media are both models of strength as well as comfort. By watching women exude confidence through the media, the queer community aligns that confidence with the support that they can also feel this same acceptance with their identity. == Britney Spears == Britney Spears, a straight woman, has been a major gay icon in popular culture. While her music is a staple in gay bars, the figure of “Britney Spears” is just as iconic. This can be attributed to her campy persona and her acquisition of her embraced sexuality throughout her career. When Spears first entered stardom, she was infamous for her virginity and overall squeaky-clean image. However, as her career developed, she began toying with her public sexuality. Before this, her fanbase tended to be more geared towards teenage girls who loved to listen to her bubblegum-pop style of music. As Spears began to lean into her public image of scandal, the queer community idolized her ability to stay true to herself. Even when Britney went through her early-200’s “trainwreck phase”, the queer community felt sympathy for Britney and her vulnerability in the media. In a viral YouTube video by Chris Crocker titled “Leave Britney Alone”, Crocker, a queer man, cries out for his support of Britney Spears. The video was made in 2007, during the depths of Britney’s public “meltdowns”. Not only has Britney been a gay icon for her presence, but she has also been active in her support for the LGBTQ+ community, both through her words and through her actions taken to fight for gay rights. She has partnered with many organizations such as GLAAD and Equality Florida for multiple events to help raise money for the LGBTQ+ community. Britney has signed an open letter alongside other celebrities to show her disdain for two anti-LGBTQ+ bills in Texas. Both of the bills were defeated thanks to the awareness raised from public figures. == Diana Ross and "I'm Coming Out" == Diana Ross is a pop legend from the 1980’s with multiple hit songs that have reached iconic status. Specifically, her song “I’m Coming Out” from her “Diana” album released in 1980 was one of the first “gay anthems”. The lyrics in the song suggest themes of self-acceptance and confidence in oneself. The title alone closely mirrors “coming out of the closet”, a term used by the LGBTQ+ community for declaring their sexuality after hiding it. Lyrics such as “I’m coming out, I want the world to know, got to let it show” coincide perfectly with a sense of pride in one’s identity. While Diana Ross has never acknowledged the meaning of the song publicly, her songwriter, Nile Rodgers has spoken about his process in writing the song. Rogers claimed that his inspiration for the song was after visiting a gay club and seeing multiple drag queens dressed as Ross. Realizing that Ross was a gay icon, Rogers got inspiration from the music playing at the club and created “I’m Coming Out.” He wrote the song to pay homage for a fanbase that has gone mostly unrecognized and unappreciated. == Taylor Swift and her Controversy == Taylor Swift is a current popular artist whose sexuality has been widely-speculated throughout her career. As a younger pop artist, Taylor Swift was infamous for writing about her public relationships and breakups. Taylor Swift was constantly ridiculed and slut-shamed during her teenage years going into her twenties about the number of public boyfriends she had. Rumors about Swift being bisexual began in 2013 after fans began noticing that her friendship with supermodel Karlie Kloss. Swift has slyly acknowledged these rumors as false in an interview with Vogue 2019. Despite this, many fans have created deep dives into the queerness of Taylor Swift. There is a popular rumor within the believers of Taylor Swift and Karlie Kloss saga that Swift’s 7th album “Lover” was going to be her “coming out album”, however, Kloss left her for Donald Trump-aligned Joshua Kushner. Swift has spoken in alliance with the LGBTQ+ community many times, beginning with her public disdain for Tennessee senatorial candidate Marsha Blackburn. Blackburn has been openly-homophobic in her comments made to the public. Swift’s alliance with the LGBTQ+ community has been mocked for being “performative” in songs such as “Welcome to New York” and “You Need to Calm Down.” In “Welcome to New York”, a song from her 6th album, “1989”, she includes the lyrics “You can want who you want, boys and boys and girls and girls.” Many fans found this an awkwardly-cheesy line in the song that felt as if Swift was checking a box to support the LGBTQ+ community. Similarly, Swift released “You Need to Calm Down” as a single from her “Lover” album in June 2019 as an anthem for Pride month. People were torn in decoding the meaning of this song. Some believed it to be an indication of Swift’s own sexuality, while others accused Swift to be queer-baiting for attention. Swift’s outspoken support has split the LGBTQ+ community into their beliefs of her intentions. Swift, who is known to be cryptic, has been thought to have been alluding to her bisexuality for years throughout songs and clothing choices. However, some believe that this is on purpose for attention. There is a popular belief that she is simply a heterosexual woman who tries to lure in the queer community into thinking that she is close to coming out. == The debate over straight women as queer icons == Many artists have faced backlash in their accommodations to the queer community. Some feel encouraged that straight pop culture legends are advocating for the LGBTQ+ community. Heterosexual men and women are at the head of popular culture—despite the fact that there has been more inclusion in the past few years. It can be argued that the first step to equality is the recognition and appreciation from these pop artists whose careers and cultures have stemmed from the gay community. Some disagree and believe that only queer figures in popular culture should be proper “gay icons.” These people feel as if marketing towards the queer community is solely for personal gain. Whether it is profit or an overall likeability, it is criticized by some. b7156e06f06811852400d3e884f1bde9f4308fd2 652 651 2022-10-31T19:16:42Z Efbanks 5 wikitext text/x-wiki == Why are straight women queer icons? == While there is no universal answer for why straight women are gay icons, there are many beliefs on why. In José Muñoz’ book Disidentifications<ref> [https://www.upress.umn.edu/book-division/books/disidentifications</ref> he states that he believes that there is a queerness in identifying with a certain figure of popular culture as a “coping mechanism” to feel a sense of belonging in a heteronormative culture. These strong female figures in popular media are both models of strength as well as comfort. By watching women exude confidence through the media, the queer community aligns that confidence with the support that they can also feel this same acceptance with their identity. == Britney Spears == Britney Spears, a straight woman, has been a major gay icon in popular culture. While her music is a staple in gay bars, the figure of “Britney Spears” is just as iconic. This can be attributed to her campy persona and her acquisition of her embraced sexuality throughout her career. When Spears first entered stardom, she was infamous for her virginity and overall squeaky-clean image. However, as her career developed, she began toying with her public sexuality. Before this, her fanbase tended to be more geared towards teenage girls who loved to listen to her bubblegum-pop style of music. As Spears began to lean into her public image of scandal, the queer community idolized her ability to stay true to herself. Even when Britney went through her early-200’s “trainwreck phase”, the queer community felt sympathy for Britney and her vulnerability in the media. In a viral YouTube video by Chris Crocker titled “Leave Britney Alone”, Crocker, a queer man, cries out for his support of Britney Spears. The video was made in 2007, during the depths of Britney’s public “meltdowns”. Not only has Britney been a gay icon for her presence, but she has also been active in her support for the LGBTQ+ community, both through her words and through her actions taken to fight for gay rights. She has partnered with many organizations such as GLAAD and Equality Florida for multiple events to help raise money for the LGBTQ+ community. Britney has signed an open letter alongside other celebrities to show her disdain for two anti-LGBTQ+ bills in Texas. Both of the bills were defeated thanks to the awareness raised from public figures. == Diana Ross and "I'm Coming Out" == Diana Ross is a pop legend from the 1980’s with multiple hit songs that have reached iconic status. Specifically, her song “I’m Coming Out” from her “Diana” album released in 1980 was one of the first “gay anthems”. The lyrics in the song suggest themes of self-acceptance and confidence in oneself. The title alone closely mirrors “coming out of the closet”, a term used by the LGBTQ+ community for declaring their sexuality after hiding it. Lyrics such as “I’m coming out, I want the world to know, got to let it show” coincide perfectly with a sense of pride in one’s identity. While Diana Ross has never acknowledged the meaning of the song publicly, her songwriter, Nile Rodgers has spoken about his process in writing the song. Rogers claimed that his inspiration for the song was after visiting a gay club and seeing multiple drag queens dressed as Ross. Realizing that Ross was a gay icon, Rogers got inspiration from the music playing at the club and created “I’m Coming Out.” He wrote the song to pay homage for a fanbase that has gone mostly unrecognized and unappreciated. == Taylor Swift and her Controversy == Taylor Swift is a current popular artist whose sexuality has been widely-speculated throughout her career. As a younger pop artist, Taylor Swift was infamous for writing about her public relationships and breakups. Taylor Swift was constantly ridiculed and slut-shamed during her teenage years going into her twenties about the number of public boyfriends she had. Rumors about Swift being bisexual began in 2013 after fans began noticing that her friendship with supermodel Karlie Kloss. Swift has slyly acknowledged these rumors as false in an interview with Vogue 2019. Despite this, many fans have created deep dives into the queerness of Taylor Swift. There is a popular rumor within the believers of Taylor Swift and Karlie Kloss saga that Swift’s 7th album “Lover” was going to be her “coming out album”, however, Kloss left her for Donald Trump-aligned Joshua Kushner. Swift has spoken in alliance with the LGBTQ+ community many times, beginning with her public disdain for Tennessee senatorial candidate Marsha Blackburn. Blackburn has been openly-homophobic in her comments made to the public. Swift’s alliance with the LGBTQ+ community has been mocked for being “performative” in songs such as “Welcome to New York” and “You Need to Calm Down.” In “Welcome to New York”, a song from her 6th album, “1989”, she includes the lyrics “You can want who you want, boys and boys and girls and girls.” Many fans found this an awkwardly-cheesy line in the song that felt as if Swift was checking a box to support the LGBTQ+ community. Similarly, Swift released “You Need to Calm Down” as a single from her “Lover” album in June 2019 as an anthem for Pride month. People were torn in decoding the meaning of this song. Some believed it to be an indication of Swift’s own sexuality, while others accused Swift to be queer-baiting for attention. Swift’s outspoken support has split the LGBTQ+ community into their beliefs of her intentions. Swift, who is known to be cryptic, has been thought to have been alluding to her bisexuality for years throughout songs and clothing choices. However, some believe that this is on purpose for attention. There is a popular belief that she is simply a heterosexual woman who tries to lure in the queer community into thinking that she is close to coming out. == The debate over straight women as queer icons == Many artists have faced backlash in their accommodations to the queer community. Some feel encouraged that straight pop culture legends are advocating for the LGBTQ+ community. Heterosexual men and women are at the head of popular culture—despite the fact that there has been more inclusion in the past few years. It can be argued that the first step to equality is the recognition and appreciation from these pop artists whose careers and cultures have stemmed from the gay community. Some disagree and believe that only queer figures in popular culture should be proper “gay icons.” These people feel as if marketing towards the queer community is solely for personal gain. Whether it is profit or an overall likeability, it is criticized by some. == References == 68c2cf27ed9f858d035fdcf7d5393fac74375cbb 653 652 2022-10-31T19:17:48Z Efbanks 5 /* Britney Spears */ wikitext text/x-wiki == Why are straight women queer icons? == While there is no universal answer for why straight women are gay icons, there are many beliefs on why. In José Muñoz’ book Disidentifications<ref> [https://www.upress.umn.edu/book-division/books/disidentifications</ref> he states that he believes that there is a queerness in identifying with a certain figure of popular culture as a “coping mechanism” to feel a sense of belonging in a heteronormative culture. These strong female figures in popular media are both models of strength as well as comfort. By watching women exude confidence through the media, the queer community aligns that confidence with the support that they can also feel this same acceptance with their identity. == Britney Spears == Britney Spears, a straight woman, has been a major gay icon in popular culture. While her music is a staple in gay bars, the figure of “Britney Spears” is just as iconic. This can be attributed to her campy<ref>[https://www.urbandictionary.com/define.php?term=camp</ref> persona and her acquisition of her embraced sexuality throughout her career. When Spears first entered stardom, she was infamous for her virginity and overall squeaky-clean image. However, as her career developed, she began toying with her public sexuality. Before this, her fanbase tended to be more geared towards teenage girls who loved to listen to her bubblegum-pop style of music. As Spears began to lean into her public image of scandal, the queer community idolized her ability to stay true to herself. Even when Britney went through her early-200’s “trainwreck phase”, the queer community felt sympathy for Britney and her vulnerability in the media. In a viral YouTube video by Chris Crocker titled “Leave Britney Alone”, Crocker, a queer man, cries out for his support of Britney Spears. The video was made in 2007, during the depths of Britney’s public “meltdowns”. Not only has Britney been a gay icon for her presence, but she has also been active in her support for the LGBTQ+ community, both through her words and through her actions taken to fight for gay rights. She has partnered with many organizations such as GLAAD and Equality Florida for multiple events to help raise money for the LGBTQ+ community. Britney has signed an open letter alongside other celebrities to show her disdain for two anti-LGBTQ+ bills in Texas. Both of the bills were defeated thanks to the awareness raised from public figures. == Diana Ross and "I'm Coming Out" == Diana Ross is a pop legend from the 1980’s with multiple hit songs that have reached iconic status. Specifically, her song “I’m Coming Out” from her “Diana” album released in 1980 was one of the first “gay anthems”. The lyrics in the song suggest themes of self-acceptance and confidence in oneself. The title alone closely mirrors “coming out of the closet”, a term used by the LGBTQ+ community for declaring their sexuality after hiding it. Lyrics such as “I’m coming out, I want the world to know, got to let it show” coincide perfectly with a sense of pride in one’s identity. While Diana Ross has never acknowledged the meaning of the song publicly, her songwriter, Nile Rodgers has spoken about his process in writing the song. Rogers claimed that his inspiration for the song was after visiting a gay club and seeing multiple drag queens dressed as Ross. Realizing that Ross was a gay icon, Rogers got inspiration from the music playing at the club and created “I’m Coming Out.” He wrote the song to pay homage for a fanbase that has gone mostly unrecognized and unappreciated. == Taylor Swift and her Controversy == Taylor Swift is a current popular artist whose sexuality has been widely-speculated throughout her career. As a younger pop artist, Taylor Swift was infamous for writing about her public relationships and breakups. Taylor Swift was constantly ridiculed and slut-shamed during her teenage years going into her twenties about the number of public boyfriends she had. Rumors about Swift being bisexual began in 2013 after fans began noticing that her friendship with supermodel Karlie Kloss. Swift has slyly acknowledged these rumors as false in an interview with Vogue 2019. Despite this, many fans have created deep dives into the queerness of Taylor Swift. There is a popular rumor within the believers of Taylor Swift and Karlie Kloss saga that Swift’s 7th album “Lover” was going to be her “coming out album”, however, Kloss left her for Donald Trump-aligned Joshua Kushner. Swift has spoken in alliance with the LGBTQ+ community many times, beginning with her public disdain for Tennessee senatorial candidate Marsha Blackburn. Blackburn has been openly-homophobic in her comments made to the public. Swift’s alliance with the LGBTQ+ community has been mocked for being “performative” in songs such as “Welcome to New York” and “You Need to Calm Down.” In “Welcome to New York”, a song from her 6th album, “1989”, she includes the lyrics “You can want who you want, boys and boys and girls and girls.” Many fans found this an awkwardly-cheesy line in the song that felt as if Swift was checking a box to support the LGBTQ+ community. Similarly, Swift released “You Need to Calm Down” as a single from her “Lover” album in June 2019 as an anthem for Pride month. People were torn in decoding the meaning of this song. Some believed it to be an indication of Swift’s own sexuality, while others accused Swift to be queer-baiting for attention. Swift’s outspoken support has split the LGBTQ+ community into their beliefs of her intentions. Swift, who is known to be cryptic, has been thought to have been alluding to her bisexuality for years throughout songs and clothing choices. However, some believe that this is on purpose for attention. There is a popular belief that she is simply a heterosexual woman who tries to lure in the queer community into thinking that she is close to coming out. == The debate over straight women as queer icons == Many artists have faced backlash in their accommodations to the queer community. Some feel encouraged that straight pop culture legends are advocating for the LGBTQ+ community. Heterosexual men and women are at the head of popular culture—despite the fact that there has been more inclusion in the past few years. It can be argued that the first step to equality is the recognition and appreciation from these pop artists whose careers and cultures have stemmed from the gay community. Some disagree and believe that only queer figures in popular culture should be proper “gay icons.” These people feel as if marketing towards the queer community is solely for personal gain. Whether it is profit or an overall likeability, it is criticized by some. == References == b1abb41b3ed2b22e72d013ba1261f28b8bf54c61 654 653 2022-10-31T19:25:00Z Efbanks 5 /* Britney Spears */ wikitext text/x-wiki == Why are straight women queer icons? == While there is no universal answer for why straight women are gay icons, there are many beliefs on why. In José Muñoz’ book Disidentifications<ref> [https://www.upress.umn.edu/book-division/books/disidentifications</ref> he states that he believes that there is a queerness in identifying with a certain figure of popular culture as a “coping mechanism” to feel a sense of belonging in a heteronormative culture. These strong female figures in popular media are both models of strength as well as comfort. By watching women exude confidence through the media, the queer community aligns that confidence with the support that they can also feel this same acceptance with their identity. == Britney Spears == Britney Spears, a straight woman, has been a major gay icon in popular culture. While her music is a staple in gay bars, the figure of “Britney Spears” is just as iconic. This can be attributed to her campy<ref>[https://www.urbandictionary.com/define.php?term=camp</ref> persona and her acquisition of her embraced sexuality throughout her career. When Spears first entered stardom, she was infamous for her virginity and overall squeaky-clean image. However, as her career developed, she began toying with her public sexuality. Before this, her fanbase tended to be more geared towards teenage girls who loved to listen to her bubblegum-pop style of music. As Spears began to lean into her public image of scandal, the queer community idolized her ability to stay true to herself. Even when Britney went through her early-200’s “trainwreck phase”, the queer community felt sympathy for Britney and her vulnerability in the media. In a viral YouTube video posted by Cara Cunningham, formerly known as Chris Crocker, titled “Leave Britney Alone” <ref> [https://www.youtube.com/watch?v=WqSTXuJeTks</ref> Cunningham, a transgender woman, cries out for her support of Britney Spears. The video was made in 2007, during the depths of Britney’s public “meltdowns”. Cunningham cries and states that "the world needs to know that Britney still has her fans. Britney still needs to know that she has her fans." Not only has Britney been a gay icon for her presence, but she has also been active in her support for the LGBTQ+ community, both through her words and through her actions taken to fight for gay rights. She has partnered with many organizations such as GLAAD <ref>https://www.glaad.org/tags/britney-spears</ref> and Equality Florida<ref>https://www.dailydot.com/upstream/celebrity-orlando-song/</ref> for multiple events to help raise money for the LGBTQ+ community. Britney has signed an open letter alongside other celebrities to show her disdain for two anti-LGBTQ+ bills in Texas <ref>https://twitter.com/i/events/832393667323138048</ref>. Both of the bills were defeated thanks to the awareness raised from public figures. == Diana Ross and "I'm Coming Out" == Diana Ross is a pop legend from the 1980’s with multiple hit songs that have reached iconic status. Specifically, her song “I’m Coming Out” from her “Diana” album released in 1980 was one of the first “gay anthems”. The lyrics in the song suggest themes of self-acceptance and confidence in oneself. The title alone closely mirrors “coming out of the closet”, a term used by the LGBTQ+ community for declaring their sexuality after hiding it. Lyrics such as “I’m coming out, I want the world to know, got to let it show” coincide perfectly with a sense of pride in one’s identity. While Diana Ross has never acknowledged the meaning of the song publicly, her songwriter, Nile Rodgers has spoken about his process in writing the song. Rogers claimed that his inspiration for the song was after visiting a gay club and seeing multiple drag queens dressed as Ross. Realizing that Ross was a gay icon, Rogers got inspiration from the music playing at the club and created “I’m Coming Out.” He wrote the song to pay homage for a fanbase that has gone mostly unrecognized and unappreciated. == Taylor Swift and her Controversy == Taylor Swift is a current popular artist whose sexuality has been widely-speculated throughout her career. As a younger pop artist, Taylor Swift was infamous for writing about her public relationships and breakups. Taylor Swift was constantly ridiculed and slut-shamed during her teenage years going into her twenties about the number of public boyfriends she had. Rumors about Swift being bisexual began in 2013 after fans began noticing that her friendship with supermodel Karlie Kloss. Swift has slyly acknowledged these rumors as false in an interview with Vogue 2019. Despite this, many fans have created deep dives into the queerness of Taylor Swift. There is a popular rumor within the believers of Taylor Swift and Karlie Kloss saga that Swift’s 7th album “Lover” was going to be her “coming out album”, however, Kloss left her for Donald Trump-aligned Joshua Kushner. Swift has spoken in alliance with the LGBTQ+ community many times, beginning with her public disdain for Tennessee senatorial candidate Marsha Blackburn. Blackburn has been openly-homophobic in her comments made to the public. Swift’s alliance with the LGBTQ+ community has been mocked for being “performative” in songs such as “Welcome to New York” and “You Need to Calm Down.” In “Welcome to New York”, a song from her 6th album, “1989”, she includes the lyrics “You can want who you want, boys and boys and girls and girls.” Many fans found this an awkwardly-cheesy line in the song that felt as if Swift was checking a box to support the LGBTQ+ community. Similarly, Swift released “You Need to Calm Down” as a single from her “Lover” album in June 2019 as an anthem for Pride month. People were torn in decoding the meaning of this song. Some believed it to be an indication of Swift’s own sexuality, while others accused Swift to be queer-baiting for attention. Swift’s outspoken support has split the LGBTQ+ community into their beliefs of her intentions. Swift, who is known to be cryptic, has been thought to have been alluding to her bisexuality for years throughout songs and clothing choices. However, some believe that this is on purpose for attention. There is a popular belief that she is simply a heterosexual woman who tries to lure in the queer community into thinking that she is close to coming out. == The debate over straight women as queer icons == Many artists have faced backlash in their accommodations to the queer community. Some feel encouraged that straight pop culture legends are advocating for the LGBTQ+ community. Heterosexual men and women are at the head of popular culture—despite the fact that there has been more inclusion in the past few years. It can be argued that the first step to equality is the recognition and appreciation from these pop artists whose careers and cultures have stemmed from the gay community. Some disagree and believe that only queer figures in popular culture should be proper “gay icons.” These people feel as if marketing towards the queer community is solely for personal gain. Whether it is profit or an overall likeability, it is criticized by some. == References == 63cded432d8840b45762d6ab589154e9ba2fbcfd 655 654 2022-10-31T19:33:00Z Efbanks 5 /* Diana Ross and "I'm Coming Out" */ wikitext text/x-wiki == Why are straight women queer icons? == While there is no universal answer for why straight women are gay icons, there are many beliefs on why. In José Muñoz’ book Disidentifications<ref> [https://www.upress.umn.edu/book-division/books/disidentifications</ref> he states that he believes that there is a queerness in identifying with a certain figure of popular culture as a “coping mechanism” to feel a sense of belonging in a heteronormative culture. These strong female figures in popular media are both models of strength as well as comfort. By watching women exude confidence through the media, the queer community aligns that confidence with the support that they can also feel this same acceptance with their identity. == Britney Spears == Britney Spears, a straight woman, has been a major gay icon in popular culture. While her music is a staple in gay bars, the figure of “Britney Spears” is just as iconic. This can be attributed to her campy<ref>[https://www.urbandictionary.com/define.php?term=camp</ref> persona and her acquisition of her embraced sexuality throughout her career. When Spears first entered stardom, she was infamous for her virginity and overall squeaky-clean image. However, as her career developed, she began toying with her public sexuality. Before this, her fanbase tended to be more geared towards teenage girls who loved to listen to her bubblegum-pop style of music. As Spears began to lean into her public image of scandal, the queer community idolized her ability to stay true to herself. Even when Britney went through her early-200’s “trainwreck phase”, the queer community felt sympathy for Britney and her vulnerability in the media. In a viral YouTube video posted by Cara Cunningham, formerly known as Chris Crocker, titled “Leave Britney Alone” <ref> [https://www.youtube.com/watch?v=WqSTXuJeTks</ref> Cunningham, a transgender woman, cries out for her support of Britney Spears. The video was made in 2007, during the depths of Britney’s public “meltdowns”. Cunningham cries and states that "the world needs to know that Britney still has her fans. Britney still needs to know that she has her fans." Not only has Britney been a gay icon for her presence, but she has also been active in her support for the LGBTQ+ community, both through her words and through her actions taken to fight for gay rights. She has partnered with many organizations such as GLAAD <ref>https://www.glaad.org/tags/britney-spears</ref> and Equality Florida<ref>https://www.dailydot.com/upstream/celebrity-orlando-song/</ref> for multiple events to help raise money for the LGBTQ+ community. Britney has signed an open letter alongside other celebrities to show her disdain for two anti-LGBTQ+ bills in Texas <ref>https://twitter.com/i/events/832393667323138048</ref>. Both of the bills were defeated thanks to the awareness raised from public figures. == Diana Ross and "I'm Coming Out" == Diana Ross is a pop legend from the 1980’s with multiple hit songs that have reached iconic status. Specifically, her song “I’m Coming Out” <ref>https://genius.com/Diana-ross-im-coming-out-lyrics</ref> from her “Diana” album released in 1980 was one of the first “gay anthems”. The lyrics in the song suggest themes of self-acceptance and confidence in oneself. The title alone closely mirrors “coming out of the closet”, a term used by the LGBTQ+ community for declaring their sexuality after hiding it. Lyrics such as “I’m coming out, I want the world to know, got to let it show” coincide perfectly with a sense of pride in one’s identity. While Diana Ross has never acknowledged the meaning of the song publicly, her songwriter, Nile Rodgers<ref>https://www.nme.com/news/music/nile-rodgers-says-diana-ross-didnt-understand-that-im-coming-out-was-a-gay-thing-2675049 </ref> has spoken about his process in writing the song. Rogers claimed that his inspiration for the song was after visiting a gay club and seeing multiple drag queens dressed as Ross. Realizing that Ross was a gay icon, Rogers got inspiration from the music playing at the club and created “I’m Coming Out.” He wrote the song to pay homage for a fanbase that has gone mostly unrecognized and unappreciated. Ross allegedly did not understand that the title of her song was in reference to the gay community. Frankie Crocker, the No. 1 radio personality at the time, told Ross that making music for the queer community would ruin her career <ref>https://www.essence.com/entertainment/diana-ross-im-coming-out/ </ref>. Multiple other people warned her against releasing the song, however, she went against their judgements. The song is currently still a staple for Pride celebrations. == Taylor Swift and her Controversy == Taylor Swift is a current popular artist whose sexuality has been widely-speculated throughout her career. As a younger pop artist, Taylor Swift was infamous for writing about her public relationships and breakups. Taylor Swift was constantly ridiculed and slut-shamed during her teenage years going into her twenties about the number of public boyfriends she had. Rumors about Swift being bisexual began in 2013 after fans began noticing that her friendship with supermodel Karlie Kloss. Swift has slyly acknowledged these rumors as false in an interview with Vogue 2019. Despite this, many fans have created deep dives into the queerness of Taylor Swift. There is a popular rumor within the believers of Taylor Swift and Karlie Kloss saga that Swift’s 7th album “Lover” was going to be her “coming out album”, however, Kloss left her for Donald Trump-aligned Joshua Kushner. Swift has spoken in alliance with the LGBTQ+ community many times, beginning with her public disdain for Tennessee senatorial candidate Marsha Blackburn. Blackburn has been openly-homophobic in her comments made to the public. Swift’s alliance with the LGBTQ+ community has been mocked for being “performative” in songs such as “Welcome to New York” and “You Need to Calm Down.” In “Welcome to New York”, a song from her 6th album, “1989”, she includes the lyrics “You can want who you want, boys and boys and girls and girls.” Many fans found this an awkwardly-cheesy line in the song that felt as if Swift was checking a box to support the LGBTQ+ community. Similarly, Swift released “You Need to Calm Down” as a single from her “Lover” album in June 2019 as an anthem for Pride month. People were torn in decoding the meaning of this song. Some believed it to be an indication of Swift’s own sexuality, while others accused Swift to be queer-baiting for attention. Swift’s outspoken support has split the LGBTQ+ community into their beliefs of her intentions. Swift, who is known to be cryptic, has been thought to have been alluding to her bisexuality for years throughout songs and clothing choices. However, some believe that this is on purpose for attention. There is a popular belief that she is simply a heterosexual woman who tries to lure in the queer community into thinking that she is close to coming out. == The debate over straight women as queer icons == Many artists have faced backlash in their accommodations to the queer community. Some feel encouraged that straight pop culture legends are advocating for the LGBTQ+ community. Heterosexual men and women are at the head of popular culture—despite the fact that there has been more inclusion in the past few years. It can be argued that the first step to equality is the recognition and appreciation from these pop artists whose careers and cultures have stemmed from the gay community. Some disagree and believe that only queer figures in popular culture should be proper “gay icons.” These people feel as if marketing towards the queer community is solely for personal gain. Whether it is profit or an overall likeability, it is criticized by some. == References == a4fe0756a3fa2854ee85410563a59ca8d614ed52 656 655 2022-10-31T19:35:03Z Efbanks 5 /* Taylor Swift and her Controversy */ wikitext text/x-wiki == Why are straight women queer icons? == While there is no universal answer for why straight women are gay icons, there are many beliefs on why. In José Muñoz’ book Disidentifications<ref> [https://www.upress.umn.edu/book-division/books/disidentifications</ref> he states that he believes that there is a queerness in identifying with a certain figure of popular culture as a “coping mechanism” to feel a sense of belonging in a heteronormative culture. These strong female figures in popular media are both models of strength as well as comfort. By watching women exude confidence through the media, the queer community aligns that confidence with the support that they can also feel this same acceptance with their identity. == Britney Spears == Britney Spears, a straight woman, has been a major gay icon in popular culture. While her music is a staple in gay bars, the figure of “Britney Spears” is just as iconic. This can be attributed to her campy<ref>[https://www.urbandictionary.com/define.php?term=camp</ref> persona and her acquisition of her embraced sexuality throughout her career. When Spears first entered stardom, she was infamous for her virginity and overall squeaky-clean image. However, as her career developed, she began toying with her public sexuality. Before this, her fanbase tended to be more geared towards teenage girls who loved to listen to her bubblegum-pop style of music. As Spears began to lean into her public image of scandal, the queer community idolized her ability to stay true to herself. Even when Britney went through her early-200’s “trainwreck phase”, the queer community felt sympathy for Britney and her vulnerability in the media. In a viral YouTube video posted by Cara Cunningham, formerly known as Chris Crocker, titled “Leave Britney Alone” <ref> [https://www.youtube.com/watch?v=WqSTXuJeTks</ref> Cunningham, a transgender woman, cries out for her support of Britney Spears. The video was made in 2007, during the depths of Britney’s public “meltdowns”. Cunningham cries and states that "the world needs to know that Britney still has her fans. Britney still needs to know that she has her fans." Not only has Britney been a gay icon for her presence, but she has also been active in her support for the LGBTQ+ community, both through her words and through her actions taken to fight for gay rights. She has partnered with many organizations such as GLAAD <ref>https://www.glaad.org/tags/britney-spears</ref> and Equality Florida<ref>https://www.dailydot.com/upstream/celebrity-orlando-song/</ref> for multiple events to help raise money for the LGBTQ+ community. Britney has signed an open letter alongside other celebrities to show her disdain for two anti-LGBTQ+ bills in Texas <ref>https://twitter.com/i/events/832393667323138048</ref>. Both of the bills were defeated thanks to the awareness raised from public figures. == Diana Ross and "I'm Coming Out" == Diana Ross is a pop legend from the 1980’s with multiple hit songs that have reached iconic status. Specifically, her song “I’m Coming Out” <ref>https://genius.com/Diana-ross-im-coming-out-lyrics</ref> from her “Diana” album released in 1980 was one of the first “gay anthems”. The lyrics in the song suggest themes of self-acceptance and confidence in oneself. The title alone closely mirrors “coming out of the closet”, a term used by the LGBTQ+ community for declaring their sexuality after hiding it. Lyrics such as “I’m coming out, I want the world to know, got to let it show” coincide perfectly with a sense of pride in one’s identity. While Diana Ross has never acknowledged the meaning of the song publicly, her songwriter, Nile Rodgers<ref>https://www.nme.com/news/music/nile-rodgers-says-diana-ross-didnt-understand-that-im-coming-out-was-a-gay-thing-2675049 </ref> has spoken about his process in writing the song. Rogers claimed that his inspiration for the song was after visiting a gay club and seeing multiple drag queens dressed as Ross. Realizing that Ross was a gay icon, Rogers got inspiration from the music playing at the club and created “I’m Coming Out.” He wrote the song to pay homage for a fanbase that has gone mostly unrecognized and unappreciated. Ross allegedly did not understand that the title of her song was in reference to the gay community. Frankie Crocker, the No. 1 radio personality at the time, told Ross that making music for the queer community would ruin her career <ref>https://www.essence.com/entertainment/diana-ross-im-coming-out/ </ref>. Multiple other people warned her against releasing the song, however, she went against their judgements. The song is currently still a staple for Pride celebrations. == Taylor Swift and her Controversy == Taylor Swift is a current popular artist whose sexuality has been widely-speculated throughout her career. As a younger pop artist, Taylor Swift was infamous for writing about her public relationships and breakups. Taylor Swift was constantly ridiculed and slut-shamed during her teenage years going into her twenties about the number of public boyfriends she had. Rumors about Swift being bisexual began in 2013 after fans began noticing that her friendship with supermodel Karlie Kloss. Swift has slyly acknowledged these rumors as false in an interview with Vogue 2019 <ref> https://www.vogue.com/article/taylor-swift-cover-september-2019 </ref>. Despite this, many fans have created deep dives into the queerness of Taylor Swift. There is a popular rumor within the believers of Taylor Swift and Karlie Kloss saga that Swift’s 7th album “Lover” was going to be her “coming out album”, however, Kloss left her for Donald Trump-aligned Joshua Kushner. Swift has spoken in alliance with the LGBTQ+ community many times, beginning with her public disdain for Tennessee senatorial candidate Marsha Blackburn. Blackburn has been openly-homophobic in her comments made to the public. Swift’s alliance with the LGBTQ+ community has been mocked for being “performative” in songs such as “Welcome to New York” <ref>https://genius.com/Taylor-swift-welcome-to-new-york-lyrics </ref> and “You Need to Calm Down” <ref>https://genius.com/Taylor-swift-you-need-to-calm-down-lyrics </ref>. In “Welcome to New York”, a song from her 6th album, “1989”, she includes the lyrics “You can want who you want, boys and boys and girls and girls.” Many fans found this an awkwardly-cheesy line in the song that felt as if Swift was checking a box to support the LGBTQ+ community. Similarly, Swift released “You Need to Calm Down” as a single from her “Lover” album in June 2019 as an anthem for Pride month. People were torn in decoding the meaning of this song. Some believed it to be an indication of Swift’s own sexuality, while others accused Swift to be queer-baiting for attention. Swift’s outspoken support has split the LGBTQ+ community into their beliefs of her intentions. Swift, who is known to be cryptic, has been thought to have been alluding to her bisexuality for years throughout songs and clothing choices. However, some believe that this is on purpose for attention. There is a popular belief that she is simply a heterosexual woman who tries to lure in the queer community into thinking that she is close to coming out. == The debate over straight women as queer icons == Many artists have faced backlash in their accommodations to the queer community. Some feel encouraged that straight pop culture legends are advocating for the LGBTQ+ community. Heterosexual men and women are at the head of popular culture—despite the fact that there has been more inclusion in the past few years. It can be argued that the first step to equality is the recognition and appreciation from these pop artists whose careers and cultures have stemmed from the gay community. Some disagree and believe that only queer figures in popular culture should be proper “gay icons.” These people feel as if marketing towards the queer community is solely for personal gain. Whether it is profit or an overall likeability, it is criticized by some. == References == 44c30fda9d96149a01fad75a0b237dfb380c77c2 0 58 657 649 2022-10-31T19:49:24Z 138.237.15.16 0 wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. Queers race: <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…” </blockquote> - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== c67fac9bd5ab4c173b3d838f2626473a81d2d734 658 657 2022-10-31T19:50:23Z 138.237.15.16 0 /* In the Society */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Queers race: <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…” </blockquote> - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 15580d258ff8625d907ec5e5ffa8d1a467c66972 660 658 2022-10-31T19:56:26Z 138.237.15.16 0 /* Race */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…” </blockquote> - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== cb05f6990a8493802c62b0b1fcad3524220ac773 661 660 2022-10-31T19:57:52Z 138.237.15.16 0 /* Race */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…” </blockquote> - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== cd364c799402b070551d277bc8ded5a229645519 663 661 2022-10-31T20:00:22Z 138.237.15.16 0 /* Race */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. For instance, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…” </blockquote> - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== a55fc9bcde260e4f04772de14f82edb902e1d6a8 667 663 2022-10-31T20:03:02Z 138.237.15.16 0 /* Race */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. For instance, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref> “Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA<ref> </blockquote> - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 137271b8af1a87650296f3a08a60bc5ce8e7c94c 668 667 2022-10-31T20:03:32Z 138.237.15.16 0 /* Race */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. For instance, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…” <ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA <ref> </blockquote> - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 23bb38d9c5e9b4a7ebca854f6c17eaf70db6d74c 669 668 2022-10-31T20:03:58Z 138.237.15.16 0 /* Race */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. For instance, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way.<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA <ref> <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…” </blockquote> - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== f2301ece7150ed93141ce4751f804b0fa68ad9e4 670 669 2022-10-31T20:04:29Z 138.237.15.16 0 /* Race */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. For instance, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 36aabeca3ccb60c6dc031611f6644a762115478c 675 670 2022-10-31T20:19:03Z 138.237.15.16 0 /* Race */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> - note, they didn’t mention the injustice after this or advocate for everyone to be given their jewels back (Uma calls them out for hoarding the benefits of Auradon society and not returning/investing it in the Isle) Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 36b2e002394de450be80ac92b09c25292ef1a2d1 676 675 2022-10-31T20:19:38Z 138.237.15.16 0 /* Race */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle is the events of the third movie. Season 2, Ep. 3 “Really interesting people” Appropriation (so freely take from Mal’s “culture” (cool hair, magic) but when it comes to giving Mal and her friends rights, taken away) (queers then discriminates) “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== b36c3c09cbd35bfd52315621c027716ae7d8d346 677 676 2022-10-31T20:31:14Z 138.237.15.16 0 /* In the Society */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle is the events of the third movie. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that is where the allegory thins, making more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, *shrugs* it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key. </blockquote> “Really interesting people” “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 6c183a1b31a99a04e51994aa4e99909d8d9b6f05 678 677 2022-10-31T20:31:47Z 138.237.15.16 0 /* Identities */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of queer coding in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle is the events of the third movie. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that is where the allegory thins, making more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key. </blockquote> “Really interesting people” “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== d4a0257ba457b461f84e8f2fa24378fd9ef8db56 694 678 2022-10-31T22:09:32Z 138.237.15.16 0 wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of [[queer coding|Queer Coding]] in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle is the events of the third movie. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that is where the allegory thins, making more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key. </blockquote> “Really interesting people” “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 465795485f33075c422918bfa811289940cd7da4 695 694 2022-10-31T22:10:05Z 138.237.15.16 0 wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of [[Queer Coding|queer coding]] in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle is the events of the third movie. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that is where the allegory thins, making more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key. </blockquote> “Really interesting people” “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 5dfa217278e9f3233d1fb2b3fbbf1c007d56894a 702 695 2022-11-01T16:08:28Z 138.237.15.112 0 /* Race */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of [[Queer Coding|queer coding]] in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that is where the allegory thins, making more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key. </blockquote> “Really interesting people” “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 6166191972bb47f6e040c6583f9c808510593430 703 702 2022-11-01T16:09:17Z 138.237.15.112 0 /* Race */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of [[Queer Coding|queer coding]] in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that is where the allegory thins, making more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key. </blockquote> “Really interesting people” “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 4cda2f5dd6d2dd7dc03637d13803f2fc5c0ff3e0 704 703 2022-11-01T16:11:51Z 138.237.15.112 0 /* Identities */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of [[Queer Coding|queer coding]] in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that accentuates the allegory and makes it more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key. </blockquote> “Really interesting people” “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 4bad361701f4b43ac050cf5bcf1aeaf2e317606b 705 704 2022-11-01T16:12:04Z 138.237.15.112 0 /* Identities */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of [[Queer Coding|queer coding]] in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that accentuates the allegory and makes it more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key. </blockquote> “Really interesting people” “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 965f9591405c87d7697d7abf07e18c87cbd8b626 706 705 2022-11-01T16:23:56Z ARStallings 10 /* Identities */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of [[Queer Coding|queer coding]] in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that accentuates the allegory and makes it more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key. </blockquote> After Audrey is saved, Hades is immediately dragged away to be put back on the Isle. As the Auradonians celebrate, Mal follows Hades and the two share a touching moment. At the party meant to celebrate her engagement with Ben, Mal refuses to become queen unless the barrier comes down, calling out Auradon’s prejudice against the Villains. <blockquote style=”border:none”> Mal: I’ve learned that you can’t live in fear because it doesn’t actually protect your from anything. You never know where the bad is going to come from, and you can never know where the heroes are going to come from… We are all capable of being good or bad, no matter what side of the barrier we come from. <ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> “Really interesting people” “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 6ef04af124db81e98004e38b400f78c99f3bd04a 0 57 659 529 2022-10-31T19:53:24Z 47.37.88.150 0 wikitext text/x-wiki Lemonade Mouth was a Disney Channel Original Movie released in 2011, starring Hayley Kiyoko (Stella Yamada), Bridgit Mendler (Olivia White), Adam Hicks (Wendell Gifford), Naomi Scott (Mohini Banjaree), and Blake Michel (Charles Delgado). ==Plot== Lemonade Mouth follows the story of these 5 students who meet in detention and decide to form a band after discovering their ability to make music with one another. Stella, the outspoken rebel that leads the group, tells the band the next day she decided to sign them up for a band competition and to play at the Halloween dance. After some convincing, they all agree to give the band a try and begin to rehearse. However, there was a lot of backlash after people discovered their band, specifically from a rival band Mudslide Crush, who Mohini’s (Mo) boyfriend plays in. There was a huge argument in the cafeteria after lead singer of Mudslide Crush, Ray, confronts the band which led to Stella spitting lemonade in his face. Though this heightens the conflict between bands, this is how they get the name “Lemonade Mouth.” Along with all the drama between the band, the principal of the school, Principal Brenigan, is working on getting donors to help support the new gymnasium being built. One supporter of this was a drink company who required he have all competing companies removed, including Mel’s Lemonade, which is what the band first bonded over. Despite all the backlash they received, along with the struggles of Principal Brenigan, who despised the band and continued to cut the funding for the music program, the band ultimately performed at the Halloween Bash and began to form a fanbase of the other students. However, during their performance, they perform a song about the oppression of Brenigan’s rules at school, ultimately leading to him stopping their performance and them being in trouble the next day and told they can no longer meet at school. Following this, the band begins to face many struggles, such as illness, arguments, and broken fingers, which made it difficult for them to perform. However, Stella is the only one still going strong, and she calls her friends to help her protest the removal of Mel’s Lemonade. During their protest, there began to be a physical altercation between them and security, ultimately ending with everyone in a holding cell waiting to be picked up. This led to them all confronting their personal issues, such as being the perfect daughter, living up to the perfect brother, or accepting a new stepmom. They agree to still do the competition Rising Star, despite all the issues the band was currently facing. The performance didn’t go well, however their fanbase helped them out and performed the song for them. Though they didn’t win, they were able to see the impact they were having on people at school. As the movie comes to an end, things pick up for the band. Mo and her boyfriend are back together, after he jumps in and plays guitar for them at the competition and gets kicked out of Mudslide Crush. Wen brought Olivia a kitten after cat passed away, and Charlie moved on from Mo and is seen talking to a girl that has been a fan. It then jumps to the wedding between Wen’s dad and his stepmom Sydney’s wedding, where Stella ends up meeting Mel, and convinces him to fund the new music hall and auditorium at the school. The band ends up playing at Madison Square Garden and the movie ends <ref>https://disney.fandom.com/wiki/Lemonade_Mouth</ref>. ==Queer Coding of Stella== Stella’s character is queer coded throughout the movie. Her character is one that is considered to be different. She consistently mentions throughout the movie that she is an outsider in her own family. She also stands out because she doesn’t follow the style of the other girls at school, with long hair and short dresses, but rather wears pants, cut up t-shirts with phrases calling out issues and showing parts of herself, and having a short haircut that has blonde highlights throughout. She doesn’t follow the status quo or the hyper-feminine stereotypes that are shown in other characters, including Olivia and Mo. Though gender performance and sexuality do not equate one another, they use these stereotypical ideal that they do in order to queer code Stella. By having the band be hyper-feminine women in the band besides her, it draws more attention to the stereotypes and queer coding of her character. Her first scene in the movie shows her wearing a “Question Authority” shirt. From the beginning, she is someone who doesn’t believe in just going with what is considered to be “normal.” She gets told by Principal Brenigan that her shirt is not appropriate, and she needs to change. Principal Brenigan represents the heteronormative perspective in the movie. He is consistently trying to control the students, especially Stella, through abusing his authority. While in his office discussing her shirt, Stella mentions that she should be allowed to have freedom of expression through her shirt. Though Brenigan does agree to that, he ultimately makes her cover her shirt during school. It shows that as a character, she goes against a normative stance and queers it. She then meets a student whose part of chess club who mentions to her that “anything outside of Principal Brenigan’s mold goes down here (the basement).” I find it interesting that he mentions this to Stella who is a queer coded character because it shows that people who are outside of a heteronormative perspective are often pushed out and ignored. Stella’s character also has moments with Olivia throughout the movie that other characters don’t have. She builds a homosocial friendship with Olivia. In the first song, Olivia and Stella joke around and laugh with one another, unlike any other characters. In addition, the song “Always Be More Than a Band” which is sung after Olivia’s cat dies and she no longer has anything to remind her of her mom, shows other moments between Olivia and Stella. Stella is seen comforting Olivia and leads the band into the song. Another reason Stella’s character is queer coded is because she is the main character that argues for acceptance and expression. During the Halloween Bash, she yells that “we all deserve to be treated like we matter.” She is not afraid to stand up for what she believes in and the acceptance of all. She goes against the heteronormative standard that is set in the school and calls out the issues that she sees in front of everyone. Though it is supposed to be focused on the issues of musical arts students, it’s interesting to note the difference in treatment between Lemonade Mouth and Mudslide Crush. While the main characters in Mudslide Crush are also part of the soccer team, it’s interesting that they don’t receive any backlash for their behavior from Brenigan the same way that Lemonade Mouth does. The last scene mentioned is the lemonade machine removal scene. Here, Stella tells the men trying to take the machine. She asks, “Are you really willing to support the rampant tyranny and oppression of the powerful over the voiceless?” She once again is calling out the heteronormative ideals that are being upheld at the school and that anyone outside of this is essentially ignored. Stella is played by Hayley Kiyoko, an Asian-American lesbian woman. She mentions herself that she felt through her characters it’s possible to see her own sexuality as part of them. She plays these characters as a lesbian woman, which therefore has an impact on how she plays these characters. In addition to Lemonade Mouth, Kiyoko played Stevie in Disney’s Wizards of Waverly Place. Her character was also interpreted to be queer coded by many as well. Kiyoko says she couldn’t help but bring “lesbian energy” to the characters she plays since that is an aspect of who she is in real life <ref>https://www.them.us/story/hayley-kiyoko-disney-coming-out-lesbian-jesus-interview</ref>. ==Queering Songs== ===== Somebody ===== Somebody is the second song by Lemonade Mouth in the movie. In context of the movie, it can be interpreted that they feel invisible at school, however through a queer perspective, it can be a song that is interpreted to be about validation in who someone is. The song begins with “can you see me, cause I’m right here. Can you listen, yeah? Cause I’ve been trying to make you notice what it would me to me to feel like somebody.” This can be interpreted as a way of trying to express to someone the value of being validated in who you are, especially from someone close to you. The chorus then picks up, “We’re gonna let it show, we’re gonna just let go of everything holding back our dreams and try to make it come alive. C’mon let it shine so they can see we were meant to be, Somebody.” This can be interpreted as becoming proud of who you are and being open with others. It can be interpreted as queer-coded because it is a song that mentions things many queer people often feel they have to do. During the chorus, it says “We were meant to be somebody, somehow, someday, someway” which can be seen as interpreting the queer community as a whole and that everyone should be accepted and validated in who they are. The last verse of the song “Get out of this darkness, feel the spotlight glowing like a yellow sun, and when we fall, we fall together, til we get back up and we will rise as one” which can be seen again as addressing the community as a whole and that getting out of the darkness is being yourself in front of everyone. In addition, the “when we fall/ we fall together” lines can be interpreted as when the queer community is not accepted or set back, it’s through everyone’s efforts that they are able to create a change in the acceptance of queer individuals. ===== She’s So Gone ===== She’s So Gone is the song that many people feel can be queered. Though in context of the movie it is clear that Mo is referencing her ex-boyfriend, it is a song that can be viewed through a queered outside of this context. In the song, it starts with “insecure in her skin, like a puppet a girl on a string.” The song starts with setting up the feeling of not being proud and feeling that you have to be someone you’re not. The next lyrics, “broke away/ learned to fly/ if you want her back gotta let her shine.” This can be interpreted as someone coming to terms with themselves and being proud of who they are. In addition, it can be interpreted that if you don’t accept this person for who they are, then they will not be in their life. The song begins to build up into the chorus “So it looks like the jokes on you/ cause the girl that you thought you knew/ she’s so gone/ that’s so over now/ She’s so gone/ you won’t find her around/ You can look but you won’t see/ the girl I used to be/ cause she/ she’s so gone. She’s so gone away like history/ She’s so gone/ baby this is me.” The chorus is the point of true pride and acceptance. They have become their most true self and the older version, the “fake” version of themselves, is no longer able to be found <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/</ref>. ===== Stand Up ===== Stand Up is a song that talks about questioning authority and can also be viewed as questioning heteronormative views. The lyrics of the chorus “Be heard, be strong, be proud” can be viewed as a form of encouragement to queer people as a way to be proud of who they are. In addition, it calls out that the school prioritizes and values some more than others. Before this song, she gave a speech calling out that they are made to not feel as though they matter, and then yells “We do matter!” Looking at this through a queer lens allows you to see that they are calling out the mistreatment of students and the heteronormative rules that run the school. == Impact in Media == Though media is often criticized for having queer-coded characters, rather than having characters that are explicitly queer, some argue that there are benefits to having queer coded characters. They are queer coded through things such as their “mannerisms, costumes, features, and inflection <ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/. </ref>.” In some cases, queer coded characters are incidental because of how queer people may relate to the character. It may not have specifically been written or played to be a queer coded character; however, it is interpreted by queer people of that. Though some companies will queer code characters, but not endorse the queer community, a practice called queer baiting, there are times where that isn’t the intent. Haley Kiyoko’s character Stella may have not meant to of been read as a queer coded character, but as a lesbian woman, Kiyoko brought aspects of herself into her character making her queer coded<ref>https://tsl.news/opinion-queer-representation-doesnt-always-look-the-way-you-expect/</ref>. Many people on Tumblr have resonated with the characters and songs in Lemonade Mouth. Prince-reo-rulez on tumblr said “listening to the Lemonade Mouth soundtrack and baking olive garden breadsticks—is this not the queerest of afternoon activities?” On Twitter, @filmsbygays tweeted “scientists need to study this song and its relationship with sapphics bc I swear smth shifted in me as a kid when I watched this for the first time” in reference to “She’s so Gone.<ref>https://twitter.com/filmsbygays/status/1574324263036723200</ref>” This shows the “She’s so Gone” can be queered and through a queer perspective can make an impact and resonate with queer people. Lastly, on LGBT+ Disney Headcanon website, there is a post that says, “Stella Yamada is biromantic and bisexual.” <ref>https://lgbtdisneyheadcanons.tumblr.com/post/136321751461/670-stella-yamada-is-biromantic-and-bisexual</ref> All these posts show the impact that the songs and Stella have in the queer community. Viewers are able to see how she is queer coded and how the songs can be seen through a queer lens. It allows for queer people to connect with the songs and the character based on their own personal experiences. Though having queer coded characters is often frowned upon, there is also argument for the benefit of having them. ==Criticism== One of my issues with having Stella as a queer coded character is that she is seen as rebellious to an extreme and may feed into the idea that to be queer, one must be this level of rebellious which is not true. In addition, by queer coding her through her clothing and hairstyle, it is feeding into stereotypes of what queer women should look like, and how they can't be a hyper feminine women if they are lesbian, which is also not true. The book was written before the movie, and has a sequel in which Stella becomes romantically involved with a boy in school. The movie never got a sequel, however it is interesting to think of what Disney might have done had there been a second movie. Would Stella date a boy, despite being played by a lesbian woman who brought these elements to her character? Would they address the queer coding of her character and allow her to still be seen as queer, or would they expect Stella to be interpreted as a straight character due to her relationship with a man? ==For Further Reading== [[Queer Coding in Pitch Perfect]], [[Queer Coding]], [[Queer Coding in Descendants]], [[Queer Coding in High School Musical]] == References == d8a71fa268778f47cd79e6a546d1ed4c242f7ded 0 61 662 626 2022-10-31T19:59:59Z Groomesdeja 19 /* Re-instating the Normative */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0]</ref> Why Did Chad and Ryan Change Clothes in High School Musical 2. However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. However, I do believe that there is yet another reasoning behind this newly formed pair. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 88439490ac37360a1d3890e9eb0ebbea445c3cf7 664 662 2022-10-31T20:00:45Z Groomesdeja 19 /* Ryan Evans & Kelsi Nielson */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Change Clothes in High School Musical 2.</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. However, I do believe that there is yet another reasoning behind this newly formed pair. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 81b3b02c09c14e440387f6843dc9194f1ad115bc 665 664 2022-10-31T20:01:23Z Groomesdeja 19 /* Ryan Evans & Kelsi Nielson */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. However, I do believe that there is yet another reasoning behind this newly formed pair. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = c124587577d47a3919ace62331230759121c48b9 666 665 2022-10-31T20:02:02Z Groomesdeja 19 /* High School Musical 3: Senior Year (2008) */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Re-instating the Normative == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. However, I do believe that there is yet another reasoning behind this newly formed pair. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 511377b67ae5872a03545cd1226f64c0f11a5268 671 666 2022-10-31T20:11:49Z Groomesdeja 19 /* Re-instating the Normative */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 60a41f8f42e357e7df7085d4a195c5ce9a76f2bb 672 671 2022-10-31T20:12:29Z Groomesdeja 19 /* Queer Relationships */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. == Re-instating the Normative == === Back to East High === In High School Musical 2, the = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 035f7bbdae15408347bbfe529cb30ebaf2a50a69 673 672 2022-10-31T20:13:12Z Groomesdeja 19 /* Queer Relationships */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Mathelte, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. == Re-instating the Normative == === Back to East High === In High School Musical 2, the = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 9a507e71498a19f6aa38b3c2989da7bc2d3fc980 674 673 2022-10-31T20:15:30Z Groomesdeja 19 /* Troy Bolton & Gabriella Montez */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. == Re-instating the Normative == === Back to East High === In High School Musical 2, the = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = e6b31e0eaa3bc19548a8cab8cc25fcbf325a29a3 681 674 2022-10-31T20:38:36Z Groomesdeja 19 /* High School Musical 3: Senior Year (2008) */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles, and slash fanfictions across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 1e083c3bde45a94a50ae0d1c25180c5b3d9901f9 698 681 2022-10-31T22:14:15Z Groomesdeja 19 /* Ryan Evans & Chad Danforth */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archivee of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 67447a9714414dee01c1229888cb96c5c587be36 699 698 2022-10-31T22:15:37Z Groomesdeja 19 /* Ryan Evans & Chad Danforth */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social sphere, essentially promoting the sentiment of labeling and binaries. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay, and Chad’s character goes beyond the Black Best Friend media trope. Instead, this relationship brings forth ideals of challenging ideologies of identity and engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. The queer-coded relationship thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of both Chad and Ryan’s respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 25d7a58e05c37e6f298df7910c779c08e8b8d2d7 0 68 679 2022-10-31T20:36:39Z 138.237.5.19 0 Created page with "== Who is Velma? == Velma Dinkey is a fictional character in the Scooby-Doo franchise. She’s often adored in an orange turtleneck, a pleated pink skirt or sometimes shorts, orange knee socks, pink Mary Jane heels, black square glasses, and a bob haircut. Velma’s character is the brains of the group, with her interests lying in science. She is sharp-witted and sarcastic, and values secrecy <ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</..." wikitext text/x-wiki == Who is Velma? == Velma Dinkey is a fictional character in the Scooby-Doo franchise. She’s often adored in an orange turtleneck, a pleated pink skirt or sometimes shorts, orange knee socks, pink Mary Jane heels, black square glasses, and a bob haircut. Velma’s character is the brains of the group, with her interests lying in science. She is sharp-witted and sarcastic, and values secrecy <ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</ref>. She’s often the first character to solve the mystery and is known to keep her ideas a secret until the end. She’s a realist, often ignoring other characters’ speculations about paranormal activity like ghosts and zombies. She knows morse code and martial arts (ref). She also has super-human strength, often lifting other members of the gang to run away from whatever monster is chasing them. (ref) caaef159575f5985c7e7939100ea39345931f808 680 679 2022-10-31T20:37:38Z 138.237.5.19 0 wikitext text/x-wiki == Who is Velma? == Velma Dinkey is a fictional character in the Scooby-Doo franchise. She’s often adored in an orange turtleneck, a pleated pink skirt or sometimes shorts, orange knee socks, pink Mary Jane heels, black square glasses, and a bob haircut. Velma’s character is the brains of the group, with her interests lying in science. She is sharp-witted and sarcastic, and values secrecy <ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</ref>. She’s often the first character to solve the mystery and is known to keep her ideas a secret until the end. She’s a realist, often ignoring other characters’ speculations about paranormal activity like ghosts and zombies. She knows morse code and martial arts <ref>https://scoobydoo.fandom.com/wiki/Velma_Dinkley</ref>. She also has super-human strength, often lifting other members of the gang to run away from whatever monster is chasing them. <ref>https://scoobydoo.fandom.com/wiki/Velma_Dinkley</ref> a7a11275279857ad9c6a32d177e83eb810412ee9 682 680 2022-10-31T20:40:27Z 138.237.5.19 0 wikitext text/x-wiki == Who is Velma? == Velma Dinkley is a fictional character in the Scooby-Doo franchise. She’s often adored in an orange turtleneck, a pleated pink skirt or sometimes shorts, orange knee socks, pink Mary Jane heels, black square glasses, and a bob haircut. Velma’s character is the brains of the group, with her interests lying in science. She is sharp-witted and sarcastic, and values secrecy <ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</ref>. She’s often the first character to solve the mystery and is known to keep her ideas a secret until the end. She’s a realist, often ignoring other characters’ speculations about paranormal activity like ghosts and zombies. She knows morse code and martial arts <ref>https://scoobydoo.fandom.com/wiki/Velma_Dinkley</ref>. She also has super-human strength, often lifting other members of the gang to run away from whatever monster is chasing them. <ref>https://scoobydoo.fandom.com/wiki/Velma_Dinkley</ref> == Velma's Ambiguous Life == Something interesting about Velma is her character’s background is never fully established. She sometimes was a student with the others, sometimes she wasn’t. In some iterations, she has siblings, and in others she doesn’t. Most relevantly, sometimes she’s straight and sometimes she’s not. <ref>https://www.ign.com/articles/velma-finally</ref> == Velma: Queer Icon == Velma’s sexuality has long been questioned by fans as she avoids expressing romantic or sexual interest in any characters <ref>https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/</ref>. It wasn’t until Mystery Incorporated that she was seen dating anyone. Fans often speculate that she harbors a secret crush on Daphne as she’s always worried about Daphne’s safety <ref>https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/</ref>. Because she dresses in a traditionally less feminine manner and values intelligence over boys like other traditional sexualized female characters, many thought she might be gay. Many fans have taken to Pinterest and created a subculture of Velma embracing her sexuality.<ref>https://news.yahoo.com/scooby-doos-velma-actually-queer-070000862.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAADK4T188Mwi0HJdZBkbyOPPdclOP_t1IEK6uLw5ZTC6b74LWnXIYaaF_4LIjPl8SkSxE-YkXB7XmJHQBvhURDrFNy5T0cmdm6oC5U1mzYNaKNX2Ar6TKwXQZGUirTAwSAHQzL86BGqrYllM1OwEO1Lham__39bkhXf3IUpVraEcb</ref> In these edits, she’s seen lovingly embracing Daphne or Marcie. She’s finally shown as explicitly gay in Trick or Treat Scooby-Doo!, where she’s seen falling head over heels for Coco Diablo. abd1d5c7954f1bd27352b096359475569654f84c 683 682 2022-10-31T20:42:16Z 138.237.5.19 0 wikitext text/x-wiki == Who is Velma? == Velma Dinkley is a fictional character in the Scooby-Doo franchise. She’s often adored in an orange turtleneck, a pleated pink skirt or sometimes shorts, orange knee socks, pink Mary Jane heels, black square glasses, and a bob haircut. Velma’s character is the brains of the group, with her interests lying in science. She is sharp-witted and sarcastic, and values secrecy <ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</ref>. She’s often the first character to solve the mystery and is known to keep her ideas a secret until the end. She’s a realist, often ignoring other characters’ speculations about paranormal activity like ghosts and zombies. She knows morse code and martial arts <ref>https://scoobydoo.fandom.com/wiki/Velma_Dinkley</ref>. She also has super-human strength, often lifting other members of the gang to run away from whatever monster is chasing them. <ref>https://scoobydoo.fandom.com/wiki/Velma_Dinkley</ref> == Velma's Ambiguous Life == Something interesting about Velma is her character’s background is never fully established. She sometimes was a student with the others, sometimes she wasn’t. In some iterations, she has siblings, and in others she doesn’t. Most relevantly, sometimes she’s straight and sometimes she’s not. <ref>https://www.ign.com/articles/velma-finally</ref> == Velma: Queer Icon == Velma’s sexuality has long been questioned by fans as she avoids expressing romantic or sexual interest in any characters <ref>https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/</ref>. It wasn’t until Mystery Incorporated that she was seen dating anyone. Fans often speculate that she harbors a secret crush on Daphne as she’s always worried about Daphne’s safety <ref>https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/</ref>. Because she dresses in a traditionally less feminine manner and values intelligence over boys like other traditional sexualized female characters, many thought she might be gay. Many fans have taken to Pinterest and created a subculture of Velma embracing her sexuality.<ref>https://news.yahoo.com/scooby-doos-velma-actually-queer-070000862.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAADK4T188Mwi0HJdZBkbyOPPdclOP_t1IEK6uLw5ZTC6b74LWnXIYaaF_4LIjPl8SkSxE-YkXB7XmJHQBvhURDrFNy5T0cmdm6oC5U1mzYNaKNX2Ar6TKwXQZGUirTAwSAHQzL86BGqrYllM1OwEO1Lham__39bkhXf3IUpVraEcb</ref> In these edits, she’s seen lovingly embracing Daphne or Marcie. She’s finally shown as explicitly gay in Trick or Treat Scooby-Doo!, where she’s seen falling head over heels for Coco Diablo. == James Gunn & Tony Cervone == James Gunn, writer of the first two live-action Scooby-Doo films in the early 2000s, said that he always intended for Velma to be “canonically gay." He suffered extreme pushback from the studio until Velma’s sexuality was ambiguous at best, and then forced into having a boyfriend.<ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</ref> Tony Cervone, the supervising producer on Mystery Incorporated, further confirmed Gunn’s statements. Despite Velma and Shaggy’s relationship, Gunn and Cervone intended for her to act “a little off and out of character” because of her discomfort in dating a man. He also said they “made their intentions as clear as we could ten years ago. Most of our fans got it. To those who didn’t, I suggest you look closer. There’s no news here.” <ref>https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/</ref> d5775fa2d101eef36bed13b2ee2a569812204b4b 684 683 2022-10-31T20:43:06Z 138.237.5.19 0 /* Velma's Ambiguous Life */ wikitext text/x-wiki == Who is Velma? == Velma Dinkley is a fictional character in the Scooby-Doo franchise. She’s often adored in an orange turtleneck, a pleated pink skirt or sometimes shorts, orange knee socks, pink Mary Jane heels, black square glasses, and a bob haircut. Velma’s character is the brains of the group, with her interests lying in science. She is sharp-witted and sarcastic, and values secrecy <ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</ref>. She’s often the first character to solve the mystery and is known to keep her ideas a secret until the end. She’s a realist, often ignoring other characters’ speculations about paranormal activity like ghosts and zombies. She knows morse code and martial arts <ref>https://scoobydoo.fandom.com/wiki/Velma_Dinkley</ref>. She also has super-human strength, often lifting other members of the gang to run away from whatever monster is chasing them. <ref>https://scoobydoo.fandom.com/wiki/Velma_Dinkley</ref> == Velma's Ambiguous Life == Something interesting about Velma is her character’s background is never fully established. She sometimes was a student with the others, sometimes she wasn’t. In some iterations, she has siblings, and in others she doesn’t. Most relevantly, sometimes she’s straight and sometimes she’s not. <ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</ref> == Velma: Queer Icon == Velma’s sexuality has long been questioned by fans as she avoids expressing romantic or sexual interest in any characters <ref>https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/</ref>. It wasn’t until Mystery Incorporated that she was seen dating anyone. Fans often speculate that she harbors a secret crush on Daphne as she’s always worried about Daphne’s safety <ref>https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/</ref>. Because she dresses in a traditionally less feminine manner and values intelligence over boys like other traditional sexualized female characters, many thought she might be gay. Many fans have taken to Pinterest and created a subculture of Velma embracing her sexuality.<ref>https://news.yahoo.com/scooby-doos-velma-actually-queer-070000862.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAADK4T188Mwi0HJdZBkbyOPPdclOP_t1IEK6uLw5ZTC6b74LWnXIYaaF_4LIjPl8SkSxE-YkXB7XmJHQBvhURDrFNy5T0cmdm6oC5U1mzYNaKNX2Ar6TKwXQZGUirTAwSAHQzL86BGqrYllM1OwEO1Lham__39bkhXf3IUpVraEcb</ref> In these edits, she’s seen lovingly embracing Daphne or Marcie. She’s finally shown as explicitly gay in Trick or Treat Scooby-Doo!, where she’s seen falling head over heels for Coco Diablo. == James Gunn & Tony Cervone == James Gunn, writer of the first two live-action Scooby-Doo films in the early 2000s, said that he always intended for Velma to be “canonically gay." He suffered extreme pushback from the studio until Velma’s sexuality was ambiguous at best, and then forced into having a boyfriend.<ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</ref> Tony Cervone, the supervising producer on Mystery Incorporated, further confirmed Gunn’s statements. Despite Velma and Shaggy’s relationship, Gunn and Cervone intended for her to act “a little off and out of character” because of her discomfort in dating a man. He also said they “made their intentions as clear as we could ten years ago. Most of our fans got it. To those who didn’t, I suggest you look closer. There’s no news here.” <ref>https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/</ref> ac60c94e02fad216866fe6707bf28fdcee0e2f1b 685 684 2022-10-31T20:44:58Z Julietelena2 14 wikitext text/x-wiki == Who is Velma? == Velma Dinkley is a fictional character in the Scooby-Doo franchise. She’s often adored in an orange turtleneck, a pleated pink skirt or sometimes shorts, orange knee socks, pink Mary Jane heels, black square glasses, and a bob haircut. Velma’s character is the brains of the group, with her interests lying in science. She is sharp-witted and sarcastic, and values secrecy <ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</ref>. She’s often the first character to solve the mystery and is known to keep her ideas a secret until the end. She’s a realist, often ignoring other characters’ speculations about paranormal activity like ghosts and zombies. She knows morse code and martial arts <ref>https://scoobydoo.fandom.com/wiki/Velma_Dinkley</ref>. She also has super-human strength, often lifting other members of the gang to run away from whatever monster is chasing them. <ref>https://scoobydoo.fandom.com/wiki/Velma_Dinkley</ref> == Velma's Ambiguous Life == Something interesting about Velma is her character’s background is never fully established. She sometimes was a student with the others, sometimes she wasn’t. In some iterations, she has siblings, and in others she doesn’t. Most relevantly, sometimes she’s straight and sometimes she’s not. <ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</ref> == Velma: Queer Icon == Velma’s sexuality has long been questioned by fans as she avoids expressing romantic or sexual interest in any characters <ref>https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/</ref>. It wasn’t until Mystery Incorporated that she was seen dating anyone. Fans often speculate that she harbors a secret crush on Daphne as she’s always worried about Daphne’s safety <ref>https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/</ref>. Because she dresses in a traditionally less feminine manner and values intelligence over boys like other traditional sexualized female characters, many thought she might be gay. Many fans have taken to Pinterest and created a subculture of Velma embracing her sexuality.<ref>https://news.yahoo.com/scooby-doos-velma-actually-queer-070000862.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAADK4T188Mwi0HJdZBkbyOPPdclOP_t1IEK6uLw5ZTC6b74LWnXIYaaF_4LIjPl8SkSxE-YkXB7XmJHQBvhURDrFNy5T0cmdm6oC5U1mzYNaKNX2Ar6TKwXQZGUirTAwSAHQzL86BGqrYllM1OwEO1Lham__39bkhXf3IUpVraEcb</ref> In these edits, she’s seen lovingly embracing Daphne or Marcie. She’s finally shown as explicitly gay in Trick or Treat Scooby-Doo!, where she’s seen falling head over heels for Coco Diablo. == James Gunn & Tony Cervone == James Gunn, writer of the first two live-action Scooby-Doo films in the early 2000s, said that he always intended for Velma to be “canonically gay." He suffered extreme pushback from the studio until Velma’s sexuality was ambiguous at best, and then forced into having a boyfriend.<ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</ref> Tony Cervone, the supervising producer on Mystery Incorporated, further confirmed Gunn’s statements. Despite Velma and Shaggy’s relationship, Gunn and Cervone intended for her to act “a little off and out of character” because of her discomfort in dating a man. He also said they “made their intentions as clear as we could ten years ago. Most of our fans got it. To those who didn’t, I suggest you look closer. There’s no news here.” <ref>https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/</ref> == References == 250848791322124326731ef90bc3289741224d2c 686 685 2022-10-31T20:47:48Z Julietelena2 14 wikitext text/x-wiki == Who is Velma? == Velma Dinkley is a fictional character in the Scooby-Doo franchise. She’s often adored in an orange turtleneck, a pleated pink skirt or sometimes shorts, orange knee socks, pink Mary Jane heels, black square glasses, and a bob haircut. Velma’s character is the brains of the group, with her interests lying in science. She is sharp-witted and sarcastic, and values secrecy <ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</ref>. She’s often the first character to solve the mystery and is known to keep her ideas a secret until the end. She’s a realist, often ignoring other characters’ speculations about paranormal activity like ghosts and zombies. She knows morse code and martial arts <ref>https://scoobydoo.fandom.com/wiki/Velma_Dinkley</ref>. She also has super-human strength, often lifting other members of the gang to run away from whatever monster is chasing them. <ref>https://scoobydoo.fandom.com/wiki/Velma_Dinkley</ref> == Velma's Ambiguous Life == Something interesting about Velma is her character’s background is never fully established. She sometimes was a student with the others, sometimes she wasn’t. In some iterations, she has siblings, and in others she doesn’t. Most relevantly, sometimes she’s straight and sometimes she’s not. <ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</ref> This ambiguity helped foster her identity as a queer icon, as fans speculated the ambiguity of her character was because of her sexuality. == Velma: Queer Icon == Velma’s sexuality has long been questioned by fans as she avoids expressing romantic or sexual interest in any characters <ref>https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/</ref>. It wasn’t until Mystery Incorporated that she was seen dating anyone. Fans often speculate that she harbors a secret crush on Daphne as she’s always worried about Daphne’s safety <ref>https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/</ref>. Because she dresses in a traditionally less feminine manner and values intelligence over boys like other traditional sexualized female characters, many thought she might be gay. Many fans have taken to Pinterest and created a subculture of Velma embracing her sexuality.<ref>https://news.yahoo.com/scooby-doos-velma-actually-queer-070000862.html?guccounter=1&guce_referrer=aHR0cHM6Ly93d3cuZ29vZ2xlLmNvbS8&guce_referrer_sig=AQAAADK4T188Mwi0HJdZBkbyOPPdclOP_t1IEK6uLw5ZTC6b74LWnXIYaaF_4LIjPl8SkSxE-YkXB7XmJHQBvhURDrFNy5T0cmdm6oC5U1mzYNaKNX2Ar6TKwXQZGUirTAwSAHQzL86BGqrYllM1OwEO1Lham__39bkhXf3IUpVraEcb</ref> In these edits, she’s seen lovingly embracing Daphne or Marcie. She’s finally shown as explicitly gay in Trick or Treat Scooby-Doo!, where she’s seen falling head over heels for Coco Diablo. == James Gunn & Tony Cervone == James Gunn, writer of the first two live-action Scooby-Doo films in the early 2000s, said that he always intended for Velma to be “canonically gay." He suffered extreme pushback from the studio until Velma’s sexuality was ambiguous at best, and then forced into having a boyfriend.<ref>https://www.ign.com/articles/velma-finally-gay-in-new-scooby-doo-film</ref> Tony Cervone, the supervising producer on Mystery Incorporated, further confirmed Gunn’s statements. Despite Velma and Shaggy’s relationship, Gunn and Cervone intended for her to act “a little off and out of character” because of her discomfort in dating a man. He also said they “made their intentions as clear as we could ten years ago. Most of our fans got it. To those who didn’t, I suggest you look closer. There’s no news here.” <ref>https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/</ref> == References == b2a369e38f1515f72c73449ad53d7bca9df3c609 0 67 687 640 2022-10-31T21:02:06Z Luretame 6 wikitext text/x-wiki Jojo’s Bizarre Adventure (JJBA) is a Japanese manga series created by Hirohiko Araki, centering around multiple descendants of the central Joestar family through their journeys, battles, and adventures with supernatural forces of malevolence. A top-rated series, Jojo’s Bizarre Adventure is popular for its longevity, musical and pop culture references, and camp art style and poses. Due to its aforementioned camp style, Jojo’s Bizarre Adventure has often been associated with queerness, an association that the creator, Araki, has embraced and continued to incorporate in its eight-part, thirty-five-year run, and is widely popular within the queer community. == Queer coding in fashion and art == Jojo’s Bizarre Adventure is wildly famous for its poses. The poses are camp, unconventional, and body-breaking. They avoid all means of remaining aligned with a specific gender or performance of masculinity despite its existence within the action and adventure drama. Despite being a series inspired by hypermasculine and violence-obsessed predecessors such as Fist of the North Star, Rocky, and Rambo, Jojo’s poses do not exist to exemplify masculinity or action, which would require a rejection of non-anger-identified emotions, but instead exemplify emotions such as cunningness, pride, confidence. These emotions are further filtered through sexuality, but seductive energy rather than hypermasculine dominance <ref>An essay about JoJo’s Bizarre Adventure and queer masculinities [https://urbanfriendden.medium.com/an-essay-about-jojos-bizarre-adventure-and-queer-masculinities-5d3b5f25567b]</ref>. As a result of this, much of Araki’s references for character poses are from haute couture, fashion illustrators such as Antonio Lopez, fashion photographers such as Bruce Weber and Patrick Demarchelier, and brands such as Versace, Vogue, Elle, and Gucci. Most of his model inspirations are women but are filtered through the muscular male protagonists in the first three parts, breaking the masculine figure in a manner comparable to the performance art of ballroom voguing <ref>Jojo Wiki, Reference Gallery [https://jojowiki.com/Reference_Gallery#1]</ref>. In further parts, JJBA’s style transitions into having less muscular bodies, signifying Araki’s breaking away from traditional shonen manga male depictions. Within these characters, Araki more deeply explores the intermingling of the feminine and the masculine. Characters like the fourth part Josuke Higashitaka are modeled after Prince, an artist known for his queering within fashion, and the character further alters the Prince-inspired outfit by adorning it with heart-shaped pendants. Character designs such as Giorno Giovanna’s feature a pink suit with a heart-shaped cutout on the chest, a lean build, and long blonde, intricately styled hair. Part Five is particularly notable for its gender-breaking fashion. Male outfits are particularly impractical and dramatic, and even borrow elements of kink and haute couture fashion for the sake of. Part Six’s protagonist, Jolyne Cujoh, features a muscular build many mangakas denied female characters <ref>An essay about JoJo’s Bizarre Adventure and queer masculinities [https://urbanfriendden.medium.com/an-essay-about-jojos-bizarre-adventure-and-queer-masculinities-5d3b5f25567b]</ref>. Why is this the case? No one in these worlds acknowledges the impractical, flamboyant, and norm-breaking roles their outfits play; they simply just wear them. Through Jojo's fashion and the lack of in-world questioning of it, Araki’s world queers itself from the real world. == Queer coding in character interactions == Jojo’s Bizarre Adventure, for the most part, does not particularly concern itself with creating clearly-identified queer characters. However, the series does not disassociate itself from expressions of queerness, rather utilizing them as a depth-defining characteristic. In short, queerness is not something the characters are, but something they actively do; queerness is a verb in the bizarre world Araki has generated. In JJBA, queering is not something that one is, but something that the characters actively do. In Enculturation - queer ethos, there is a discussion of the "assimilated queer", the queer that is gay or lesbian but does not ‘put it in anyone's face” and does what they are supposed to do societally <ref>Ethos, or Get Used to It [https://www.enculturation.net/files/QueerRhetoric/queerarchive/ethos.html]</ref>. This is oftentimes the case when queer characters are depicted in media - queer is not something they do, but something that they are, and their queerness is displayed simply in name and not through their actions. There is merit to this; it is an avoidance of the late twentieth-century to early twenty-first-century queer characters who lacked depth beyond their queerness, yet there is homonormativity and conformity through its rejection of queer identifiers within characters entirely. However, JJBA opts for the verbing of queer rather than the noun. Characters within the series “perform” queer, they are the definition of disidentification: the placement of the queer and artistic, seductive feminine within the hypermasculine archetypal character. In the fanbase for the series, there is much speculation about which characters are or are not queer in identity, with some being confirmed by Araki and others not, but it is important to note that the fanbase does not rely on the canonization of queer identities by Araki to accept it amongst themselves. Even though Joseph Joestar, the protagonist of the second JJBA part, is likely heterosexual, the fans choose to envision a homoerotic relationship between him and his companion during the arc, Caesar Zeppeli, and in these discussions, there is no widespread opposition. It is not due to an understanding that the homoerotic identifier being assigned to Joseph is a joke that there is no opposition, but due to a widespread understanding that queering is more than an identity, it is a verb, and it is something Joseph and Caesar do through their interactions with one another, and therefore, it is realistic to suggest a queer relationship between the two. In every part, there is queer identity interlaid. More examples include Speedwagon in Part One of JJBA, who is initially presented as the stereotypical loyal ally to the protagonist of the part, Jonathan Joestar. His sexuality in Araki’s eyes is never made explicit, but he is shown using the Japanese word, “suki”, to describe his affection for Jonathan, a word one would not throw around casually. His immediate and rapid emotional dedication to Jonathan complicates any notion of simple friendship, and he even breaks into a hospital to hold Jonathan's hand while he is ill <ref> Some rather interesting JoJo finds I’ve made recently… (Part 1 of 2) [https://earthbovndmisfit.tumblr.com/post/176006005974/some-rather-interesting-jojo-finds-ive-made]</ref>. Another example lies within Tiziano and Squalo, who are enemies in the fifth JJBA part. While discussing strategy with Squalo, Tiziano caresses his chest gently. It is not comedic in nature, nor can it be described as fanservice; it is not relevant to the plot, yet it is something that happens. Queerness, which the action of doing has been shamed throughout a queer type of respectability politics, is done here, and it is not concerned with whether or not it is necessary, relevant, or important when it happens. In semblance to low theory, it does not try to meet a standard in whether or not it should. Even though the protagonist of Part six, Jolyne, is a woman in a shonen manga, Araki practices disidentification by placing a woman within the male-identified genre, and Jolyne exists within the same flamboyancy, yet maintains a muscular build often criticized in the straight male gaze. Araki continues on to further disrupt the genre in Part Seven, where a considerably feminine-presenting disabled man is the protagonist. == As a Queer Identifier == Due to its nature as queering, being a fan of Jojo’s Bizarre Adventure is considered to be a signifier of queer identity. One popular joke amongst fans of the show is the phrase, “Jojo makes you gay”. This phrase can mean that the show turns individuals gay, but furthermore, that the show exists as a precursor to discovering one’s gay identity. For many, the latter is actually the case, but in order to consume the series, there are paradigms one must either be open to or become open to, which opens one up to queer theory. Both in the Western and Eastern eye, viewers must be open to a new sort of queer masculinity unseen in anime to the depths in which Araki explores it <ref>An essay about JoJo’s Bizarre Adventure and queer masculinities [https://urbanfriendden.medium.com/an-essay-about-jojos-bizarre-adventure-and-queer-masculinities-5d3b5f25567b]</ref>, and must also understand the value of the queering that takes place in the series, using it as a vehicle for further analysis and appreciation of what Araki values as romance and love between two characters, aside from gender, which queers the idea of romance. Due to this, Jojo fans are often associated with queer identity and JJBA itself as an identifier of queerness. == References == 2a62e5341705161a02e907814b163f0e53962e14 688 687 2022-10-31T21:02:55Z Luretame 6 wikitext text/x-wiki Jojo’s Bizarre Adventure (JJBA) is a Japanese manga series created by Hirohiko Araki, centering around multiple descendants of the central Joestar family through their journeys, battles, and adventures with supernatural forces of malevolence. A top-rated series, Jojo’s Bizarre Adventure is popular for its longevity, musical and pop culture references, and camp art style and poses. Due to its aforementioned camp style, Jojo’s Bizarre Adventure has often been associated with queerness, an association that the creator, Araki, has embraced and continued to incorporate in its eight-part, thirty-five-year run, and is widely popular within the queer community. == Queer coding in fashion and art == Jojo’s Bizarre Adventure is wildly famous for its poses. The poses are camp, unconventional, and body-breaking. They avoid all means of remaining aligned with a specific gender or performance of masculinity despite its existence within the action and adventure drama. Despite being a series inspired by hypermasculine and violence-obsessed predecessors such as Fist of the North Star, Rocky, and Rambo, Jojo’s poses do not exist to exemplify masculinity or action, which would require a rejection of non-anger-identified emotions, but instead exemplify emotions such as cunningness, pride, confidence. These emotions are further filtered through sexuality, but seductive energy rather than hypermasculine dominance <ref>An essay about JoJo’s Bizarre Adventure and queer masculinities [https://urbanfriendden.medium.com/an-essay-about-jojos-bizarre-adventure-and-queer-masculinities-5d3b5f25567b]</ref>. As a result of this, much of Araki’s references for character poses are from haute couture, fashion illustrators such as Antonio Lopez, fashion photographers such as Bruce Weber and Patrick Demarchelier, and brands such as Versace, Vogue, Elle, and Gucci. Most of his model inspirations are women but are filtered through the muscular male protagonists in the first three parts, breaking the masculine figure in a manner comparable to the performance art of ballroom voguing <ref>Jojo Wiki, Reference Gallery [https://jojowiki.com/Reference_Gallery#1]</ref>. In further parts, JJBA’s style transitions into having less muscular bodies, signifying Araki’s breaking away from traditional shonen manga male depictions. Within these characters, Araki more deeply explores the intermingling of the feminine and the masculine. Characters like the fourth part Josuke Higashitaka are modeled after Prince, an artist known for his queering within fashion, and the character further alters the Prince-inspired outfit by adorning it with heart-shaped pendants. Character designs such as Giorno Giovanna’s feature a pink suit with a heart-shaped cutout on the chest, a lean build, and long blonde, intricately styled hair. Part Five is particularly notable for its gender-breaking fashion. Male outfits are particularly impractical and dramatic, and even borrow elements of kink and haute couture fashion for the sake of. Part Six’s protagonist, Jolyne Cujoh, features a muscular build many mangakas denied female characters <ref>An essay about JoJo’s Bizarre Adventure and queer masculinities [https://urbanfriendden.medium.com/an-essay-about-jojos-bizarre-adventure-and-queer-masculinities-5d3b5f25567b]</ref>. Why is this the case? No one in these worlds acknowledges the impractical, flamboyant, and norm-breaking roles their outfits play; they simply just wear them. Through Jojo's fashion and the lack of in-world questioning of it, Araki’s world queers itself from the real world. == Queer coding in character interactions == Jojo’s Bizarre Adventure, for the most part, does not particularly concern itself with creating clearly-identified queer characters. However, the series does not disassociate itself from expressions of queerness, rather utilizing them as a depth-defining characteristic. In short, queerness is not something the characters are, but something they actively do; queerness is a verb in the bizarre world Araki has generated. In JJBA, queering is not something that one is, but something that the characters actively do. In Enculturation - queer ethos, there is a discussion of the "assimilated queer", the queer that is gay or lesbian but does not ‘put it in anyone's face” and does what they are supposed to do societally <ref>Ethos, or Get Used to It [https://www.enculturation.net/files/QueerRhetoric/queerarchive/ethos.html]</ref>. This is oftentimes the case when queer characters are depicted in media - queer is not something they do, but something that they are, and their queerness is displayed simply in name and not through their actions. There is merit to this; it is an avoidance of the late twentieth-century to early twenty-first-century queer characters who lacked depth beyond their queerness, yet there is homonormativity and conformity through its rejection of queer identifiers within characters entirely. However, JJBA opts for the verbing of queer rather than the noun. Characters within the series “perform” queer, they are the definition of disidentification: the placement of the queer and artistic, seductive feminine within the hypermasculine archetypal character. In the fanbase for the series, there is much speculation about which characters are or are not queer in identity, with some being confirmed by Araki and others not, but it is important to note that the fanbase does not rely on the canonization of queer identities by Araki to accept it amongst themselves. Even though Joseph Joestar, the protagonist of the second JJBA part, is likely heterosexual, the fans choose to envision a homoerotic relationship between him and his companion during the arc, Caesar Zeppeli, and in these discussions, there is no widespread opposition. It is not due to an understanding that the homoerotic identifier being assigned to Joseph is a joke that there is no opposition, but due to a widespread understanding that queering is more than an identity, it is a verb, and it is something Joseph and Caesar do through their interactions with one another, and therefore, it is realistic to suggest a queer relationship between the two. In every part, there is queer identity interlaid. More examples include Speedwagon in Part One of JJBA, who is initially presented as the stereotypical loyal ally to the protagonist of the part, Jonathan Joestar. His sexuality in Araki’s eyes is never made explicit, but he is shown using the Japanese word, “suki”, to describe his affection for Jonathan, a word one would not throw around casually. His immediate and rapid emotional dedication to Jonathan complicates any notion of simple friendship, and he even breaks into a hospital to hold Jonathan's hand while he is ill <ref> Some rather interesting JoJo finds I’ve made recently… (Part 1 of 2) [https://earthbovndmisfit.tumblr.com/post/176006005974/some-rather-interesting-jojo-finds-ive-made]</ref>. Another example lies within Tiziano and Squalo, who are enemies in the fifth JJBA part. While discussing strategy with Squalo, Tiziano caresses his chest gently. It is not comedic in nature, nor can it be described as fanservice; it is not relevant to the plot, yet it is something that happens. Queerness, which the action of doing has been shamed throughout a queer type of respectability politics, is done here, and it is not concerned with whether or not it is necessary, relevant, or important when it happens. In semblance to low theory, it does not try to meet a standard in whether or not it should. Even though the protagonist of Part six, Jolyne, is a woman in a shonen manga, Araki practices disidentification by placing a woman within the male-identified genre, and Jolyne exists within the same flamboyancy, yet maintains a muscular build often criticized in the straight male gaze. Araki continues on to further disrupt the genre in Part Seven, where a considerably feminine-presenting disabled man is the protagonist. == As a queer identifier == Due to its nature as queering, being a fan of Jojo’s Bizarre Adventure is considered to be a signifier of queer identity. One popular joke amongst fans of the show is the phrase, “Jojo makes you gay”. This phrase can mean that the show turns individuals gay, but furthermore, that the show exists as a precursor to discovering one’s gay identity. For many, the latter is actually the case, but in order to consume the series, there are paradigms one must either be open to or become open to, which opens one up to queer theory. Both in the Western and Eastern eye, viewers must be open to a new sort of queer masculinity unseen in anime to the depths in which Araki explores it <ref>An essay about JoJo’s Bizarre Adventure and queer masculinities [https://urbanfriendden.medium.com/an-essay-about-jojos-bizarre-adventure-and-queer-masculinities-5d3b5f25567b]</ref>, and must also understand the value of the queering that takes place in the series, using it as a vehicle for further analysis and appreciation of what Araki values as romance and love between two characters, aside from gender, which queers the idea of romance. Due to this, Jojo fans are often associated with queer identity and JJBA itself as an identifier of queerness. == References == 3ffd8d36bbde23b962de45d6c796ed6da17719e0 0 59 689 428 2022-10-31T21:48:40Z Dkreisl 20 /* Overview */ wikitext text/x-wiki == Overview == Today, a lot, if not most of us, at least in the U.S., know more about the transgender community than we did even ten years ago. We can see through media and articles more of an insight into what happens during the transition process for either gender. With more knowledge on this topic, some people have become more aware of this process that is happening for many people and are able to learn and help because of it. While we’re learning more about the process and methods of transitioning, I think it is also important to talk about detransitioning, as some transgender people choose to do this, and most of them have the option to do so. == Possible Mindsets of Detransitioning == Detransitioning is the process of reverting back to your gender given at birth, whether if that’s man or a woman. There could be many reasons for someone wanting to go through this process; change in one’s core gender identity, or uncertainty about their gender idenity, which are internal forces driving this decision to detransition, or external forces, like pressure from family and friends, employer, and even loss of health insurance or money that goes into helping provide the services they need to keep helping them transition or stayed transitioned. While all of these forces to detransition can happen it’s important for us to allow these people who want to detransition do it for themselves and not anyone else. == Recognizing the Lack of Fluidity with Transitioning == I work at a small boutique and I had a customer on the phone this year ask me about this romper we had and gave me their sizing and shared with me that they are in the middle of becoming a woman, so they’re trying to branch out in wearing women’s clothing, but it’s difficult because of their body they were given from their gender at birth. While the customer felt comfortable enough to open up with me and share all of this with me and how much they love the process they’re going through, they also brought up how their mentor for this process brought up this point: you are so far into this process that you can never be just as you were before you started transitioning, and while the customer I was speaking with said this was a milestone for them and they were excited, it was just also kind of a reality of check of where they are in this process and how much they’re changing. And this got me thinking are there a lot of people who feel this way and it scares them into wanting to stop the process or go back to their gender from birth? And does personally being afraid of change make it harder to transition, even though you feel you are a different gender than the one you were born with? == Ellie and Nele == Both Ellie and Nele transitioned from the gender female to male by the process of using testosterone and removing both of their breasts in mastectomy surgery. They were both agreeing that they were transgender men before they met each other. They didn’t want to be women and felt comfortable in themselves once transitioning, however, they both got diagnosed with vaginal atrophy, which is soreness and dryness in the vagina that can be a side effect of menopause or from taking testosterone, so Nele said: “I'm putting my body full of hormones, when my body can make those on its own" after trying an estrogen cream to help with this, so they both decided why not go natural for a bit and see how that works out (Pressly and Proctor 2020)? They continued even further with their detransitioning and even went back to identifying as she/her pronouns. They’ve enjoyed seeing their body change to a softer and more feminine look, but have realized that they won’t sound or look the same as they did before transitioning. But it wasn’t just the vaginal atrophy and the estrogen to fix that, it was them really looking inward and doing their research to find out what was best for themselves. Ellie did research on the culture war between trans activists and radical feminists, and while Ellie was researching she was questioning her identity as being transgender. She questioned if this was her way of going through life (Pressly and Proctor 2020). With this reflection they were experiencing about themselves they decided as I said before on trying to go back to natural instead of being on testosterone and see how that goes, and they just feel more themselves that way. This whole process of detransitioning for Ellie and Nele was their way of finding out who they truly are besides listening to social media, and feeling stuck besides removing their breasts and telling the most important people in their lives that they identify as a different gender than what they were born with. While it was a process for them to fully find themselves they are happier now and feel like their true selves. == References == <references/> <ref> Ellie and Nele: From she to he - and back to she again [https://www.bbc.com/news/stories-51806011]</ref>[https://www.bbc.com/news/stories-51806011 Ellie and Nele: From she to he - and back to she again] == Other Sources for Further Reading == [[Transition to Detransition:Twin Sisters]] 313101a05a666e579559fcaeda31a1d1e5f81d81 690 689 2022-10-31T21:49:22Z Dkreisl 20 /* Overview */ wikitext text/x-wiki == Overview == Today, a lot, if not most of us, at least in the U.S., know more about the transgender community than we did even ten years ago. We can see through media and articles more of an insight into what happens during the transition process for people that go through this journey. With more knowledge on this topic, some people have become more aware of this process that is happening for many people and are able to learn and help because of it. While we’re learning more about the process and methods of transitioning, I think it is also important to talk about detransitioning, as some transgender people choose to do this, and most of them have the option to do so. == Possible Mindsets of Detransitioning == Detransitioning is the process of reverting back to your gender given at birth, whether if that’s man or a woman. There could be many reasons for someone wanting to go through this process; change in one’s core gender identity, or uncertainty about their gender idenity, which are internal forces driving this decision to detransition, or external forces, like pressure from family and friends, employer, and even loss of health insurance or money that goes into helping provide the services they need to keep helping them transition or stayed transitioned. While all of these forces to detransition can happen it’s important for us to allow these people who want to detransition do it for themselves and not anyone else. == Recognizing the Lack of Fluidity with Transitioning == I work at a small boutique and I had a customer on the phone this year ask me about this romper we had and gave me their sizing and shared with me that they are in the middle of becoming a woman, so they’re trying to branch out in wearing women’s clothing, but it’s difficult because of their body they were given from their gender at birth. While the customer felt comfortable enough to open up with me and share all of this with me and how much they love the process they’re going through, they also brought up how their mentor for this process brought up this point: you are so far into this process that you can never be just as you were before you started transitioning, and while the customer I was speaking with said this was a milestone for them and they were excited, it was just also kind of a reality of check of where they are in this process and how much they’re changing. And this got me thinking are there a lot of people who feel this way and it scares them into wanting to stop the process or go back to their gender from birth? And does personally being afraid of change make it harder to transition, even though you feel you are a different gender than the one you were born with? == Ellie and Nele == Both Ellie and Nele transitioned from the gender female to male by the process of using testosterone and removing both of their breasts in mastectomy surgery. They were both agreeing that they were transgender men before they met each other. They didn’t want to be women and felt comfortable in themselves once transitioning, however, they both got diagnosed with vaginal atrophy, which is soreness and dryness in the vagina that can be a side effect of menopause or from taking testosterone, so Nele said: “I'm putting my body full of hormones, when my body can make those on its own" after trying an estrogen cream to help with this, so they both decided why not go natural for a bit and see how that works out (Pressly and Proctor 2020)? They continued even further with their detransitioning and even went back to identifying as she/her pronouns. They’ve enjoyed seeing their body change to a softer and more feminine look, but have realized that they won’t sound or look the same as they did before transitioning. But it wasn’t just the vaginal atrophy and the estrogen to fix that, it was them really looking inward and doing their research to find out what was best for themselves. Ellie did research on the culture war between trans activists and radical feminists, and while Ellie was researching she was questioning her identity as being transgender. She questioned if this was her way of going through life (Pressly and Proctor 2020). With this reflection they were experiencing about themselves they decided as I said before on trying to go back to natural instead of being on testosterone and see how that goes, and they just feel more themselves that way. This whole process of detransitioning for Ellie and Nele was their way of finding out who they truly are besides listening to social media, and feeling stuck besides removing their breasts and telling the most important people in their lives that they identify as a different gender than what they were born with. While it was a process for them to fully find themselves they are happier now and feel like their true selves. == References == <references/> <ref> Ellie and Nele: From she to he - and back to she again [https://www.bbc.com/news/stories-51806011]</ref>[https://www.bbc.com/news/stories-51806011 Ellie and Nele: From she to he - and back to she again] == Other Sources for Further Reading == [[Transition to Detransition:Twin Sisters]] 3e3bb34d4def00252554128013284f3206ef552f 691 690 2022-10-31T22:04:23Z Dkreisl 20 /* Ellie and Nele */ wikitext text/x-wiki == Overview == Today, a lot, if not most of us, at least in the U.S., know more about the transgender community than we did even ten years ago. We can see through media and articles more of an insight into what happens during the transition process for people that go through this journey. With more knowledge on this topic, some people have become more aware of this process that is happening for many people and are able to learn and help because of it. While we’re learning more about the process and methods of transitioning, I think it is also important to talk about detransitioning, as some transgender people choose to do this, and most of them have the option to do so. == Possible Mindsets of Detransitioning == Detransitioning is the process of reverting back to your gender given at birth, whether if that’s man or a woman. There could be many reasons for someone wanting to go through this process; change in one’s core gender identity, or uncertainty about their gender idenity, which are internal forces driving this decision to detransition, or external forces, like pressure from family and friends, employer, and even loss of health insurance or money that goes into helping provide the services they need to keep helping them transition or stayed transitioned. While all of these forces to detransition can happen it’s important for us to allow these people who want to detransition do it for themselves and not anyone else. == Recognizing the Lack of Fluidity with Transitioning == I work at a small boutique and I had a customer on the phone this year ask me about this romper we had and gave me their sizing and shared with me that they are in the middle of becoming a woman, so they’re trying to branch out in wearing women’s clothing, but it’s difficult because of their body they were given from their gender at birth. While the customer felt comfortable enough to open up with me and share all of this with me and how much they love the process they’re going through, they also brought up how their mentor for this process brought up this point: you are so far into this process that you can never be just as you were before you started transitioning, and while the customer I was speaking with said this was a milestone for them and they were excited, it was just also kind of a reality of check of where they are in this process and how much they’re changing. And this got me thinking are there a lot of people who feel this way and it scares them into wanting to stop the process or go back to their gender from birth? And does personally being afraid of change make it harder to transition, even though you feel you are a different gender than the one you were born with? == Ellie and Nele == Both [https://www.bbc.com/news/stories-51806011 Ellie and Nele] transitioned from the gender female to male by the process of using testosterone and removing both of their breasts in mastectomy surgery. They were both agreeing that they were transgender men before they met each other. They didn’t want to be women and felt comfortable in themselves once transitioning, however, they both got diagnosed with vaginal atrophy, which is soreness and dryness in the vagina that can be a side effect of menopause or from taking testosterone, so Nele said: “I'm putting my body full of hormones, when my body can make those on its own" after trying an estrogen cream to help with this, so they both decided why not go natural for a bit and see how that works out (Pressly and Proctor 2020)? They continued even further with their detransitioning and even went back to identifying as she/her pronouns. They’ve enjoyed seeing their body change to a softer and more feminine look, but have realized that they won’t sound or look the same as they did before transitioning. But it wasn’t just the vaginal atrophy and the estrogen to fix that, it was them really looking inward and doing their research to find out what was best for themselves. Ellie did research on the culture war between trans activists and radical feminists, and while Ellie was researching she was questioning her identity as being transgender. She questioned if this was her way of going through life (Pressly and Proctor 2020). With this reflection they were experiencing about themselves they decided as I said before on trying to go back to natural instead of being on testosterone and see how that goes, and they just feel more themselves that way. This whole process of detransitioning for Ellie and Nele was their way of finding out who they truly are besides listening to social media, and feeling stuck besides removing their breasts and telling the most important people in their lives that they identify as a different gender than what they were born with. While it was a process for them to fully find themselves they are happier now and feel like their true selves. == References == <references/> <ref> Ellie and Nele: From she to he - and back to she again [https://www.bbc.com/news/stories-51806011]</ref>[https://www.bbc.com/news/stories-51806011 Ellie and Nele: From she to he - and back to she again] == Other Sources for Further Reading == [[Transition to Detransition:Twin Sisters]] 8050bd11ee7167d9016ad00e084d1473c5741c6e 0 52 692 447 2022-10-31T22:06:53Z Catherinecunningham 8 /* Queer Coding of Becca */ wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas." The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character, Cynthia Rose. We will discuss her and the stereotypes surrounding her character, and we will also discuss the [[Queer Coding|queer coding]] of the main character Becca, and the Bellas rival group, an all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe" and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine '', it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes" that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Descendants|Queer Coding in Descendents]] == References == e1a4bd92c36ceb2bfc117917a0b94bb4a816b4ac 693 692 2022-10-31T22:07:21Z Catherinecunningham 8 /* Queer Coding of Becca */ wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas." The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character, Cynthia Rose. We will discuss her and the stereotypes surrounding her character, and we will also discuss the [[Queer Coding|queer coding]] of the main character Becca, and the Bellas rival group, an all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe" and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine", it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes" that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Descendants|Queer Coding in Descendents]] == References == 9765c0cf4f3447dfd948aca09408e4c2a01a1135 696 693 2022-10-31T22:12:08Z Catherinecunningham 8 /* Explicitly Queer Characters in Pitch Perfect */ wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas." The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character, Cynthia Rose. We will discuss her and the stereotypes surrounding her character, and we will also discuss the [[Queer Coding|queer coding]] of the main character Becca, and the Bellas rival group, an all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper-masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper-masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. Lemonade Mouth also confronts a similar issue with the queer coding of Hayley Kiyoko's character, Stella, when discussing her gender performance. For more information on Stella and Lemonade Mouth, see [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]]. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe" and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine", it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes" that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Descendants|Queer Coding in Descendents]] == References == 052711ac9454ead8e89d87a3d803d728e97e6519 697 696 2022-10-31T22:14:07Z Catherinecunningham 8 /* The Lack of Queer Coding in the Treblemakers */ wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas." The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character, Cynthia Rose. We will discuss her and the stereotypes surrounding her character, and we will also discuss the [[Queer Coding|queer coding]] of the main character Becca, and the Bellas rival group, an all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper-masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper-masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. Lemonade Mouth also confronts a similar issue with the queer coding of Hayley Kiyoko's character, Stella, when discussing her gender performance. For more information on Stella and Lemonade Mouth, see [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]]. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. In High School Musical, Ryan and Chad have a queer-coded relationship at certain points, but it is quashed by Chads relationship. For further reading on queer coding in High School Musical, see [[Queer Coding in High School Musical]]. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but becuase they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe" and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine", it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes" that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Descendants|Queer Coding in Descendents]] == References == 09062c3d9f2a3d109b31cdc7271c3e3f783dc39e 0 66 700 637 2022-10-31T22:16:21Z Amanda.peter 13 wikitext text/x-wiki Queer Mannerisms == Gay Mannerisms == '''Limp wrist''' - Probably the most well-known queer mannerism is the limp wrist. Historically, the limp wrist has been associated with gay men because of its links to femininity (women’s clothing restricted movement, leaving their wrists limp <ref>[https://gcn.ie/gay-hand-queer-stereotype/</ref>). The gesture has since been used as a stereotype for gay men and queerness, even used as a fill-in for the word “gay” (or queer), such as when someone says, “Is he *limp wrist*?” Though the gesture may sometimes be meant as a derogatory motion, queer individuals have also adopted it as a way of asking if someone else is queer or as a signifier to express that they themselves are queer. The limp wrist has recently become a viral trend on Tik Tok as queer people flopped their wrists to the ding of Doja Cat’s “Kiss Me More.<ref>[https://www.youtube.com/watch?v=QXhWF-l3Xms&t=115s</ref>” '''Snapping''' - Another mannerism frequently associated with gay men is finger snapping, especially to emphasize a point. This action is commonly done in a Z pattern with thee snaps or with a single snap across the shoulders. From this came the term “snap queen,” <ref>[https://www.mindprod.com/ggloss/snapqueen.html</ref> used to refer to an effeminate man who might “punctuate and accentuate communication with finger snaps.” It should be noted that this and other mannerisms adopted by the queer community come directly from Black culture, and there are debates <ref>[https://www.reddit.com/r/askgaybros/comments/4322dl/why_do_gay_men_generally_try_to_imitate_black/</ref> about whether this is an expected result of the crossing of queer and Black communities (especially in drag) or an act of appropriation.<ref>[https://ourliveswisconsin.com/article/dear-queer-white-people-cultural-appropriation/</ref> == Lesbian Mannerisms == '''Lesbian cup hold''' - Queer women, especially lesbians, have noticed a common way of holding their cups by the rims, grabbing the tops with their fingertips<ref>[https://www.tiktok.com/t/ZTR9QYqrm/</ref>. This action can be performed with all types of cups, including coffee mugs, water bottles, and to-go cups with straws (the straw fitting between the fingers stretched across the lid). For coffee mugs, there appears to be an alternative to this by-the-top grasp- holding it by the side, placing the middle and ring finger inside the handle to wrap all fingers around the mug<ref>[https://www.tiktok.com/t/ZTR9Q6Y3J/</ref>. '''Keychain wrap/Carabiner click''' - Symbols have long been a physical item used to identify lesbians because of their history for butch women who worked blue-collar jobs when they didn’t fit the gender expectations of feminine white-collar positions<ref>[https://lesbiannews.com/the-universal-language-of-lesbian-key-rings/#:~:text=While%20the%20keychain%20or%20carabiner,you%20see%20it%20on%20them</ref>. Since then, the keychain, along with the carabiner, has become a part of “lesbian culture.” Because of this, one mannerism queer women might do is a fidget wrapping their keychain or clicking their carabiner. This action might also be used intentionally to draw attention to their keychain as a way of subtly expressing queerness. == Bisexual Mannerisms == '''Bi finger guns''' - Finger guns are possibly the most iconic mannerism in “bi culture,” if not “gay culture,” becoming the subject of many memes, Reddit threads<ref>[https://www.reddit.com/r/bisexual/comments/dkd8cb/how_the_hell_did_finger_guns_become_a_bisexual/</ref>, and even Pride merch<ref>[https://www.etsy.com/listing/1138986114/bi-pride-pin-bisexual-finger-guns-subtle</ref>. The action has become so associated with bisexual people that Urban Dictionary defines it as “a hand gesture that is used by bisexual people as a representation of their bisexuality,” providing the sample sentence- “When she asked me if i liked girls or guys i just panicked and did *finger guns.* <ref>[https://www.urbandictionary.com/define.php?term=*finger%20guns*</ref>” Additionally, some claim to be “peace sign bisexual” in a move similar to the finger guns, though this action is less associated with bisexuality. '''Sitting improperly''' - Another part of bisexual culture is the inability to sit correctly in chairs. Sometimes this means opting for the floor, but generally, it includes sitting lopsided with the feet at different levels (perhaps one on the seat and the other sticking out on the floor. Recognition of the bisexual sitting position grew to the point that a specific seat, the “bi chair,<ref>[https://www.out.com/bisexuality/2019/8/30/bi-chair-perfect-queers-who-cant-sit-straight</ref>” was created to provide maximum comfort and ease for the unconventional positions. The seat features armrests at different heights and a cut-out of the seat with a footrest for one leg to fold under. == Queer Culture == Through mannerisms and other commonalities, queer people have created a silent language, a way to wordlessly express their queerness. Further, they create a “culture” - gay culture, lesbian culture, bi culture, etc. This shared culture then builds community, a safe space for queer individuals to come together around more than just mannerisms and cuffed jeans. This foreground of seemingly unimportant things opens a way for communication and a place to share all of the joys and struggles that come with queerness- shared or not. Clearly, using these mannerisms doesn’t necessitate identification with a particular group or queerness in general. Likewise, not everyone who considers themself queer or a member of any of these particular groups will demonstrate these mannerisms- a bisexual person need not use finger guns, and a lesbian can hold her cup from the side. However, this does not exclude them from the community shared by queer people. This page only covers a small number of mannerisms from a very limited set of queer identities, and there are plenty of other ways queer people can connect. The community is large, and no people experience their queer lives the same. Queer mannerisms are just one of the many ways to connect and share in this culture and community. == See Also == [[Jojo Bizarre's Adventure as Queer Identifier]] [[Straight Female Pop Artists As Queer Icons]] [[Queer Coding in Media]] [[Queer Coding in Fashion]] [[Velma Dinkley: Coded to Explicit]] == References == <references/> a373c73f137687de6b195ab439bfb0885697940c 701 700 2022-10-31T22:16:49Z Amanda.peter 13 /* See Also */ wikitext text/x-wiki Queer Mannerisms == Gay Mannerisms == '''Limp wrist''' - Probably the most well-known queer mannerism is the limp wrist. Historically, the limp wrist has been associated with gay men because of its links to femininity (women’s clothing restricted movement, leaving their wrists limp <ref>[https://gcn.ie/gay-hand-queer-stereotype/</ref>). The gesture has since been used as a stereotype for gay men and queerness, even used as a fill-in for the word “gay” (or queer), such as when someone says, “Is he *limp wrist*?” Though the gesture may sometimes be meant as a derogatory motion, queer individuals have also adopted it as a way of asking if someone else is queer or as a signifier to express that they themselves are queer. The limp wrist has recently become a viral trend on Tik Tok as queer people flopped their wrists to the ding of Doja Cat’s “Kiss Me More.<ref>[https://www.youtube.com/watch?v=QXhWF-l3Xms&t=115s</ref>” '''Snapping''' - Another mannerism frequently associated with gay men is finger snapping, especially to emphasize a point. This action is commonly done in a Z pattern with thee snaps or with a single snap across the shoulders. From this came the term “snap queen,” <ref>[https://www.mindprod.com/ggloss/snapqueen.html</ref> used to refer to an effeminate man who might “punctuate and accentuate communication with finger snaps.” It should be noted that this and other mannerisms adopted by the queer community come directly from Black culture, and there are debates <ref>[https://www.reddit.com/r/askgaybros/comments/4322dl/why_do_gay_men_generally_try_to_imitate_black/</ref> about whether this is an expected result of the crossing of queer and Black communities (especially in drag) or an act of appropriation.<ref>[https://ourliveswisconsin.com/article/dear-queer-white-people-cultural-appropriation/</ref> == Lesbian Mannerisms == '''Lesbian cup hold''' - Queer women, especially lesbians, have noticed a common way of holding their cups by the rims, grabbing the tops with their fingertips<ref>[https://www.tiktok.com/t/ZTR9QYqrm/</ref>. This action can be performed with all types of cups, including coffee mugs, water bottles, and to-go cups with straws (the straw fitting between the fingers stretched across the lid). For coffee mugs, there appears to be an alternative to this by-the-top grasp- holding it by the side, placing the middle and ring finger inside the handle to wrap all fingers around the mug<ref>[https://www.tiktok.com/t/ZTR9Q6Y3J/</ref>. '''Keychain wrap/Carabiner click''' - Symbols have long been a physical item used to identify lesbians because of their history for butch women who worked blue-collar jobs when they didn’t fit the gender expectations of feminine white-collar positions<ref>[https://lesbiannews.com/the-universal-language-of-lesbian-key-rings/#:~:text=While%20the%20keychain%20or%20carabiner,you%20see%20it%20on%20them</ref>. Since then, the keychain, along with the carabiner, has become a part of “lesbian culture.” Because of this, one mannerism queer women might do is a fidget wrapping their keychain or clicking their carabiner. This action might also be used intentionally to draw attention to their keychain as a way of subtly expressing queerness. == Bisexual Mannerisms == '''Bi finger guns''' - Finger guns are possibly the most iconic mannerism in “bi culture,” if not “gay culture,” becoming the subject of many memes, Reddit threads<ref>[https://www.reddit.com/r/bisexual/comments/dkd8cb/how_the_hell_did_finger_guns_become_a_bisexual/</ref>, and even Pride merch<ref>[https://www.etsy.com/listing/1138986114/bi-pride-pin-bisexual-finger-guns-subtle</ref>. The action has become so associated with bisexual people that Urban Dictionary defines it as “a hand gesture that is used by bisexual people as a representation of their bisexuality,” providing the sample sentence- “When she asked me if i liked girls or guys i just panicked and did *finger guns.* <ref>[https://www.urbandictionary.com/define.php?term=*finger%20guns*</ref>” Additionally, some claim to be “peace sign bisexual” in a move similar to the finger guns, though this action is less associated with bisexuality. '''Sitting improperly''' - Another part of bisexual culture is the inability to sit correctly in chairs. Sometimes this means opting for the floor, but generally, it includes sitting lopsided with the feet at different levels (perhaps one on the seat and the other sticking out on the floor. Recognition of the bisexual sitting position grew to the point that a specific seat, the “bi chair,<ref>[https://www.out.com/bisexuality/2019/8/30/bi-chair-perfect-queers-who-cant-sit-straight</ref>” was created to provide maximum comfort and ease for the unconventional positions. The seat features armrests at different heights and a cut-out of the seat with a footrest for one leg to fold under. == Queer Culture == Through mannerisms and other commonalities, queer people have created a silent language, a way to wordlessly express their queerness. Further, they create a “culture” - gay culture, lesbian culture, bi culture, etc. This shared culture then builds community, a safe space for queer individuals to come together around more than just mannerisms and cuffed jeans. This foreground of seemingly unimportant things opens a way for communication and a place to share all of the joys and struggles that come with queerness- shared or not. Clearly, using these mannerisms doesn’t necessitate identification with a particular group or queerness in general. Likewise, not everyone who considers themself queer or a member of any of these particular groups will demonstrate these mannerisms- a bisexual person need not use finger guns, and a lesbian can hold her cup from the side. However, this does not exclude them from the community shared by queer people. This page only covers a small number of mannerisms from a very limited set of queer identities, and there are plenty of other ways queer people can connect. The community is large, and no people experience their queer lives the same. Queer mannerisms are just one of the many ways to connect and share in this culture and community. == See Also == [[Jojo Bizarre's Adventure as Queer Identifier]] [[Straight Female Pop Artists As Queer Icons]] [[Queer Coding in Media]] [[Queer Coding in Fashion]] [[Velma Dinkley: Coded to Explicit]] == References == <references/> b2813a93561b67f42382662d8e9a64f0ed126138 0 58 707 706 2022-11-01T16:24:29Z ARStallings 10 /* Identities */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of [[Queer Coding|queer coding]] in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that accentuates the allegory and makes it more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key.<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> After Audrey is saved, Hades is immediately dragged away to be put back on the Isle. As the Auradonians celebrate, Mal follows Hades and the two share a touching moment. At the party meant to celebrate her engagement with Ben, Mal refuses to become queen unless the barrier comes down, calling out Auradon’s prejudice against the Villains. <blockquote style=”border:none”> Mal: I’ve learned that you can’t live in fear because it doesn’t actually protect your from anything. You never know where the bad is going to come from, and you can never know where the heroes are going to come from… We are all capable of being good or bad, no matter what side of the barrier we come from. <ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> “Really interesting people” “Set it off” -> “Judging me because of my background” Rule book People best suited to cause change irl don’t - B/c Ben is king, change is as easy as snapping his fingers, but without that, it seems like an almost impossible fight Uma serves as the theme deliverer of the movie ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 7732c05bdcfe9ba0d97e2f1c915edc42c7ee7fe1 708 707 2022-11-01T16:35:19Z ARStallings 10 /* Identities */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of [[Queer Coding|queer coding]] in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that accentuates the allegory and makes it more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key.<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> After Audrey is saved, Hades is immediately dragged away to be put back on the Isle. As the Auradonians celebrate, Mal follows Hades and the two share a touching moment. At the party meant to celebrate her engagement with Ben, Mal refuses to become queen unless the barrier comes down, calling out Auradon’s prejudice against the Villains. <blockquote style=”border:none”> Mal: I’ve learned that you can’t live in fear because it doesn’t actually protect your from anything. You never know where the bad is going to come from, and you can never know where the heroes are going to come from… We are all capable of being good or bad, no matter what side of the barrier we come from. <ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> By advocating for the destruction of the barrier, what Mal is truly advocating for is the removal of the restrictions that have been imposed through these binary identities. Ultimately, what this movie advocates for is the belief that change is possible—that it is possible to choose to pave a “new beginning.” Still, it cautions that you must be aware of your own positionality. Such awareness can come from within (as it had for characters such as Uma and Hades) or from external factors (as was the case for both Ben and Mal). Once you reach that point, you can then truly see the metaphorical table for what it’s worth and create a plan to deconstruct it. <blockquote style=”border:none”> Mal: It’s time we take the barrier down forever. Adam: We can’t do that. Ben: It’s up to us, Dad. I choose to be a king who moves forward. It’s time for forgiveness. It’s time for new beginnings. The barrier will come down!<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> As the VKs said in the spell used to bring the barrier down: “To make the world a better place, we have to do it face to face.”<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> ==Criticism== ===The Elephant in the Room=== Problems equating the villains with queer people because of the Very Obvious there Queer is not just sexually queer, ultimately they’re queer because they’re deviants ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== fdf9dcf257844b278cfd3abe7cc10af9a2750e7c 729 708 2022-11-03T18:25:04Z 138.237.15.119 0 /* The Elephant in the Room */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of [[Queer Coding|queer coding]] in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that accentuates the allegory and makes it more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key.<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> After Audrey is saved, Hades is immediately dragged away to be put back on the Isle. As the Auradonians celebrate, Mal follows Hades and the two share a touching moment. At the party meant to celebrate her engagement with Ben, Mal refuses to become queen unless the barrier comes down, calling out Auradon’s prejudice against the Villains. <blockquote style=”border:none”> Mal: I’ve learned that you can’t live in fear because it doesn’t actually protect your from anything. You never know where the bad is going to come from, and you can never know where the heroes are going to come from… We are all capable of being good or bad, no matter what side of the barrier we come from. <ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> By advocating for the destruction of the barrier, what Mal is truly advocating for is the removal of the restrictions that have been imposed through these binary identities. Ultimately, what this movie advocates for is the belief that change is possible—that it is possible to choose to pave a “new beginning.” Still, it cautions that you must be aware of your own positionality. Such awareness can come from within (as it had for characters such as Uma and Hades) or from external factors (as was the case for both Ben and Mal). Once you reach that point, you can then truly see the metaphorical table for what it’s worth and create a plan to deconstruct it. <blockquote style=”border:none”> Mal: It’s time we take the barrier down forever. Adam: We can’t do that. Ben: It’s up to us, Dad. I choose to be a king who moves forward. It’s time for forgiveness. It’s time for new beginnings. The barrier will come down!<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> As the VKs said in the spell used to bring the barrier down: “To make the world a better place, we have to do it face to face.”<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> ==Criticism== ===The Elephant in the Room=== Equating queerness with a group called “the Villains” presents an obvious problem. “[We] must realize that traditional media queer codes villains through stereo-typical depictions of traits and behaviors in order to reinforce traditional gender roles and to equate deviancy with villainy.”<ref>Koeun Kim https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164</ref> This brings into place the very concept of deviancy. Deviancy in itself is not an evil trait. Many people considered by western society to be vastly successful can be labeled as deviants in many different ways, yet are worshipped. Deviancy is the root of innovation, yet it is scorned as the devil’s invention. Ultimately what it boils down to are the existence of binaries and identities. After all, what place does deviancy have in a society with no boundaries (and thus, no standard) to deviate from? ===Reinforcement of Gender Roles=== Male rooms vs female rooms Refutation: Lonnie fighting gender roles ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 193ab11cdb02416f30c782e34247def3b16c954b 730 729 2022-11-03T20:30:56Z ARStallings 10 wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of [[Queer Coding|queer coding]] in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that accentuates the allegory and makes it more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key.<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> After Audrey is saved, Hades is immediately dragged away to be put back on the Isle. As the Auradonians celebrate, Mal follows Hades and the two share a touching moment. At the party meant to celebrate her engagement with Ben, Mal refuses to become queen unless the barrier comes down, calling out Auradon’s prejudice against the Villains. <blockquote style=”border:none”> Mal: I’ve learned that you can’t live in fear because it doesn’t actually protect your from anything. You never know where the bad is going to come from, and you can never know where the heroes are going to come from… We are all capable of being good or bad, no matter what side of the barrier we come from. <ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> By advocating for the destruction of the barrier, what Mal is truly advocating for is the removal of the restrictions that have been imposed through these binary identities. Ultimately, what this movie advocates for is the belief that change is possible—that it is possible to choose to pave a “new beginning.” Still, it cautions that you must be aware of your own positionality. Such awareness can come from within (as it had for characters such as Uma and Hades) or from external factors (as was the case for both Ben and Mal). Once you reach that point, you can then truly see the metaphorical table for what it’s worth and create a plan to deconstruct it. <blockquote style=”border:none”> Mal: It’s time we take the barrier down forever. Adam: We can’t do that. Ben: It’s up to us, Dad. I choose to be a king who moves forward. It’s time for forgiveness. It’s time for new beginnings. The barrier will come down!<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> As the VKs said in the spell used to bring the barrier down: “To make the world a better place, we have to do it face to face.”<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> ==Criticism== ===The Elephant in the Room=== Equating queerness with a group called “the Villains” presents an obvious problem. “[We] must realize that traditional media queer codes villains through stereo-typical depictions of traits and behaviors in order to reinforce traditional gender roles and to equate deviancy with villainy.”<ref>Koeun Kim https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164</ref> This brings into place the very concept of deviancy. Deviancy in itself is not an evil trait. Many people considered by western society to be vastly successful can be labeled as deviants in many different ways, yet are worshipped. Deviancy is the root of innovation, yet it is scorned as the devil’s invention. Ultimately what it boils down to are the existence of binaries and identities. After all, what place does deviancy have in a society with no boundaries (and thus, no standard) to deviate from? ===Reinforcement of Gender Roles=== For a movie about deviancy from the norm, there’s still a surprising amount of adherence to it. Jay and Carlos’ room, for instance, is dimly lit with red lightbulbs and dark wooden furniture and has things like video game consoles and a 3D printer in it. Mal and Evie’s room, however, is filled with natural light and their furniture is white and pink and has things like a sewing machine and vases. Further, the main conflict of the third movie arises from both Mal and Audrey wanting to achieve a very heteronormative happy ending (marrying Ben to become the Queen of Auradon). Finally, though Evie is shown to be extremely gifted in chemistry, after the first movie and the spinoff animation, it is never mentioned again. Instead, she continues with a stereotypically feminine line of work. Digging even further into older conservative views of gender normative fashion, all of the Auradon women wear only dresses (usually in soft or pastel colors), further establishing the cultural divide between the AKs and the VKs (especially given the circumstances of deviancy being equated with evil). ===Intersectionality=== Failures (just because a character is POC does not mean it creates intersectionality) Mulan makes chocolate chip cookies; Lonnie erases her ethnic hair, making the only thing Asian about her really in her facial features (which can be considered stereotyping/racist/pushes narrative that white features are what's attractive) - note Mal’s spell (“new cool hair”) - Granted could represent immigrant children’s experience POCs are white coded Jafar/Jay play into nasty stereotypes of Arab men - also, everything that characterizes Jafar (intelligence/cunning) is removed in favor of making him goofy (in a movie about humanizing villains, to what extent should we do that) Mal spits out Jasmine and Aladdin’s food they served her ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== c87f6c0dc028cbce68c2a65b9db268c1546515aa 731 730 2022-11-03T21:07:08Z ARStallings 10 /* Intersectionality */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of [[Queer Coding|queer coding]] in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that accentuates the allegory and makes it more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key.<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> After Audrey is saved, Hades is immediately dragged away to be put back on the Isle. As the Auradonians celebrate, Mal follows Hades and the two share a touching moment. At the party meant to celebrate her engagement with Ben, Mal refuses to become queen unless the barrier comes down, calling out Auradon’s prejudice against the Villains. <blockquote style=”border:none”> Mal: I’ve learned that you can’t live in fear because it doesn’t actually protect your from anything. You never know where the bad is going to come from, and you can never know where the heroes are going to come from… We are all capable of being good or bad, no matter what side of the barrier we come from. <ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> By advocating for the destruction of the barrier, what Mal is truly advocating for is the removal of the restrictions that have been imposed through these binary identities. Ultimately, what this movie advocates for is the belief that change is possible—that it is possible to choose to pave a “new beginning.” Still, it cautions that you must be aware of your own positionality. Such awareness can come from within (as it had for characters such as Uma and Hades) or from external factors (as was the case for both Ben and Mal). Once you reach that point, you can then truly see the metaphorical table for what it’s worth and create a plan to deconstruct it. <blockquote style=”border:none”> Mal: It’s time we take the barrier down forever. Adam: We can’t do that. Ben: It’s up to us, Dad. I choose to be a king who moves forward. It’s time for forgiveness. It’s time for new beginnings. The barrier will come down!<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> As the VKs said in the spell used to bring the barrier down: “To make the world a better place, we have to do it face to face.”<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> ==Criticism== ===The Elephant in the Room=== Equating queerness with a group called “the Villains” presents an obvious problem. “[We] must realize that traditional media queer codes villains through stereo-typical depictions of traits and behaviors in order to reinforce traditional gender roles and to equate deviancy with villainy.”<ref>Koeun Kim https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164</ref> This brings into place the very concept of deviancy. Deviancy in itself is not an evil trait. Many people considered by western society to be vastly successful can be labeled as deviants in many different ways, yet are worshipped. Deviancy is the root of innovation, yet it is scorned as the devil’s invention. Ultimately what it boils down to are the existence of binaries and identities. After all, what place does deviancy have in a society with no boundaries (and thus, no standard) to deviate from? ===Reinforcement of Gender Roles=== For a movie about deviancy from the norm, there’s still a surprising amount of adherence to it. Jay and Carlos’ room, for instance, is dimly lit with red lightbulbs and dark wooden furniture and has things like video game consoles and a 3D printer in it. Mal and Evie’s room, however, is filled with natural light and their furniture is white and pink and has things like a sewing machine and vases. Further, the main conflict of the third movie arises from both Mal and Audrey wanting to achieve a very heteronormative happy ending (marrying Ben to become the Queen of Auradon). Finally, though Evie is shown to be extremely gifted in chemistry, after the first movie and the spinoff animation, it is never mentioned again. Instead, she continues with a stereotypically feminine line of work. Digging even further into older conservative views of gender normative fashion, all of the Auradon women wear only dresses (usually in soft or pastel colors), further establishing the cultural divide between the AKs and the VKs (especially given the circumstances of deviancy being equated with evil). ===Intersectionality=== There are several actors of color in this series–some of whom are characters that were originally white (Cruella De Vil, Queen Leah). Additionally, it is notable that there is an extra who is disabled in all three movies—appearing in a wheelchair. However, does this count as representation? No. Ultimately, the characters who are not canonically a POC are white coded. Race is not an integral aspect of their characters. Somehow, even Mulan and her daughter, Lonnie, are white coded. Lonnie says that her mother makes her chocolate chip cookies when she’s sad. Further, when she is first introduced, her hair is the same shade that is associated with typical Mongoloid hair and cut in a stereotypical Asian way (not that I can say anything, my cousins and I all rocked the bowl cut growing up). She asks Mal to perform a spell to change her hair, and Mal replaces her old style with “new, cool, hair.”<ref>Descendants 1 https://www.disneyplus.com/video/53264bc8-20e3-476f-9e00-6e2a7ae3ccb7</ref> The resulting hairstyle has Lonnie sporting long, soft curls and a light brown that is unnatural for Asians. This changing of the hair in these ways would not be problematic if it weren’t for the preceding spell, which is insulates Asian features as being uncool (it is worth nothing the hair color changed back to the original shade in the second movie). Further, the other characters of color are widely caricatures of those identities. Jafar, and Arab man, is nothing like he is in the movie. In the movie, he is incredibly intelligent, limited only by his hunger for power. The Jafar in Descendants, however, is a conman. His son steals from the people of the Isle and gives the spoils to Jafar, who then sells it back to the residents. Further, Jay (at least half-Arab as well) is initially characterized as the most violent of the VKs. It is to the point that Chad says that all he likes to do is attack people. Also, when Mal visits Aladdin and Jasmine, she spits out the food they serve her into a napkin on live TV, which she and Evie later laugh about. ===Disney=== support Disney by watching, Disney values will inevitably impose == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 3cf0bed4ac2653c79fbf5a24862247edd3a75c13 732 731 2022-11-03T21:09:00Z ARStallings 10 /* Disney */ wikitext text/x-wiki ''Descendants'' is a musical fantasy made-for-TV trilogy about the descendants of classic Disney characters. The main conflict is between the land of the Disney Heroes (who live in a kingdom named the United States of Auradon) and the Disney Villains (the Isle of the Lost). The protagonists (known as the (V)illain (K)id(s)) Mal (daughter of Maleficent), Evie (daughter of the Evil Queen), Carlos (son of Cruella De Vil), and Jay (son of Jafar) navigate these tensions to encourage both sides to set aside their prejudices and create a more accepting society. Supporting roles include Ben (son of Belle and Adam), Audrey (daughter of Aurora and Philip), Uma (daughter of Ursula), Harry (son of Captain Hook), and Gil (son of Gaston). In asserting the existence of [[Queer Coding|queer coding]] in this series, I point to a 2020 interview that director Kenny Ortega participated in in regards to the usage of queer subtext in the High School Musical series. "“I just took it upon myself to make choices that I felt that those who were watching would grab. They would see it, they would feel it, they would know it and they would identify with it,” Ortega explains.<ref> The Telegraph. http://www.osatelegraph.org/op-ed/disneys-queer-subtext-its-impact-on-cultural-norms </ref> If this was indeed the case for High School Musical, then it would not be a stretch to claim that such themes are present in ''Descendants'' as well. ==Background== Most children grow up on on fairytales about the beautiful princess undergoing some magical tribulation, getting saved by a prince, marrying said prince, and living happily ever after. It is undeniable that the vast majority of fairytales reinforce heteronormative ideas–wait for your Prince Charming to come and when he does, you’ll get to live happily ever after. Disney is, perhaps, one of the worst offenders in this regard. From the forced cheerfulness that Snow White endorsed to the always distressed Pepper Potts, they’re only just now beginning into creating stories that empower those in their audience in a way that does not come at the expense of someone else (think of villains such as Ursula, who was made with queer stereotypes in mind and the implications of the hyper-feminine Ariel’s triumphing over her). With the controversies surrounding Disney and their donations to Florida’s Don’t Say Gay cause, it’s likely we won’t get a movie that truly gives a platform to the LGBTQ+ for a while more. Why, then, are fairytale remixes so popular among the LGBTQ+ community? According to this generation’s internet scholar’s, movies such as the Descendants trilogy owe their popularity to the queerness coded into the society and characters. <ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> ==In Characters== ===Mal=== Where sexual queerness is concerned, Dove Cameron, Mal’s actress, is openly bisexual and queer. When making a YouTube video for Them’s series “Becoming,” she said that Mal was “most definitely in love with Evie.”<ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Though Mal is canonically not bisexual (since Cameron simply plays a character, not writes her script), Cameron’s interpretation of her character lends itself well to the idea of Mal as a queerly coded character. In more deviantly queer terms, a major struggle that Mal experiences is the pressure to conform to societal expectations. The second movie begins, in fact, with Mal closeting her true self–dying her hair blonde and wearing pastels to fit more appropriately in with Auradon nobility. This mental disconnect between her perception of self and her projection of self is what causes her to flee back to the Isle of the Lost so that she can be herself again. Later, she is comforted by her partner that he loves her for who she truly is–background as a VK be damned. ===Audrey=== In the first movie, Audrey is as heteronormative as a character can get. She is focused on having a relationship with Ben and becoming queen. This obsession with Ben persists into the third movie where she retaliates against Auradon after Ben proposes to Mal. Despite this, interesting enough, Audrey embodies the queer experience. In “Queen of Mean,” Audrey describes herself as “a perfect picture with a broken frame.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=r9o1QS-itsU </ref> She goes on to mourn her perfect life, reflecting about how she did everything that was asked of her only to lose her happy ending to Mal. The Love is Love movement encourages people to be who they are because who they are is perfect. This is reflected in the earlier lyrics. Audrey is perfect the way she is (metaphorically speaking). The reason there isn’t a perfect portrait isn’t not because of the picture (her)–it’s because of the frame (society). Society is heaping expectations on her (many of which would be considered outdated, even in the context of their universe), which she falls short of and is then made to feel lesser as a result, leading to a downward mental spiral. Putting this into context of minorities, many are made to feel like they are not as deserving of existing for problems that society is saying that they have. However, by recognizing that the problem lies within society and not the individual, we can truly work to create a prettier picture. ===Harry=== Harry queers most prominently gender in the series. He rejects the hyper-masculine appearance that his attitude would suggest, wearing makeup (notable since the only two other characters with noticeable makeup are Evie and Uma). It’s worn respectfully as well in a way that emphasizes, not mocks or demeans. Most importantly, though he participates in a stereotypically feminine ritual, it is never portrayed as such. It is portrayed as normal in their universe, which further queers gender norms in ours. Furthermore, though he is straight (canonically demonstrating attraction to Uma and is stated by Dove Cameron and Thomas Doherty to have been interested in Mal), there was a scene filmed in which we were supposed to see a kiss between him and his friend, Gil, that was ultimately cut from the final version.<ref> Gabe Bergado https://www.teenvogue.com/story/descendants-2-gay-kiss-harry-gil </ref> ==In Relationships== ===Mal and Evie=== Of the relationships mentioned here, “Malvie” is the most romantically queer. It is the most popular non-canon ship (and, for a time, the most popular ship overall) for the series. <ref> Archives of Our Own https://archiveofourown.org/tags/Descendants%20(Disney%20Movies)/works </ref><ref> Nia Le. https://flipscreened.com/2019/11/29/a-different-kind-of-happy-ever-after-lgbtq-fandom-and-the-modern-fairytale-retelling/ </ref> Though Mal and Evie are said by Disney to have a sister-like relationship, Dove Cameron has said differently. <ref> Mathew Rodriguz https://www.them.us/story/dove-cameron-knows-that-her-disney-characters-were-secretly-queer</ref> Further, Mal and Evie are shown to be much more physically intimate than either are with their canonical love interests–notably most prominently in the duet “Space Between.” The duet is Evie expressing her dismay at not realizing Mal had been suffering while Mal reassures her leaving was not Evie’s fault. When isolating the lyrics from the context, they can be read in an extremely romantic way. For instance, two sing together “Even if we’re worlds apart / You’ll always be in my heart / It will always be you and me.” <ref> DisneyMusicVEVO. https://www.youtube.com/watch?v=NalipNz4e3g </ref> Couple this with the montage of all the moments they shared from the first movie and the hand holding, their touching of their foreheads together (which fans of the ship have dubbed an “almost kiss”), and hug they share in the scene where “Space Between” is sung, and it is no surprise why so many people like the ship. ===Mal and Ben=== Mal and Ben most prominently queer gender roles. At face value, they’re the typically heterosexual fairytale couple–Prince Charming coming into Cinderella’s life to take her away from her awful mother. However, Mal and Ben subvert this. Ben didn’t save Mal from anything–in fact, in every case where one of them was in danger and needed saving, it was Ben. In this subversion of fantasy tropes, the series does not conflate femininity in Ben or masculinity in Mal, thereby reinforcing the decision to not reiterate heteronormative tropes. Further, one could argue that they are societally queer. I won’t expound upon the obvious queerness of their relationship being between a villain and a hero, however, what they subvert are existing systems of identifying. Using metaphors discussed in class, they initially seek to expand the table and bring more outsiders in. However, by the end of the trilogy, they realize that they cannot in good consciousness continue with this line of thought, and ultimately destroy the table altogether. They remove the alienation of identities through the destruction of segregation, which serves to bring to establish that societal change is possible. ===Evie and Doug=== On the surface, Evie and Doug challenge romantic relationship standards. Stereotypically, when one party is objectively more attractive than the other, there has to be some sort of change within the personality or appearance of the other. However, this does not occur, nor does one party demeaning or devaluing the other (which happens to bring them to an equivalent level in a sense). Instead, what happens is that Evie and Doug queer economic expectations (and, in turn, expectations of gender). Evie’s mother raised her very conservatively and sent her to Auradon with one mission—to find a prince to marry so that she could live in a castle and be taken care of for the rest of her life. As a result she pursues Chad (the son of Cinderella), who makes her do his homework. After he begins dating Audrey, he tries to get her expelled for academic dishonesty. Doug is the reason that Evie moves on from Chad, telling her that she doesn’t need a prince to be happy. He encourages her to pursue a career and achieve her dreams through her own work. In the third film, the two are now dating and Evie has bought her first castle thanks to her new job as a fashion designer, with Doug working as her assistant. ==In the Society== The society of Auradon most explicitly queers socio-economic class and race through the creation of the binaries of “Auradon Kids” and “Villain Kids,” which acts as a justification of discrimination and segregation. Through this fictional lens, Ortega is calling to question the systems of oppression that exist in our reality and encourages his audience to be aware of their positionality. ===Socio-Economic Statuses=== The dichotomy of rich vs impoverished is the most visually overt. The Kingdom of Auradon is something out of a fairytale—picturesque castles sit on perfectly manicured lawns as the petit elite play croquet and drink tea. The Isle of the Lost is a slum—nearly a perfect reflection of a real-world slum. Interesting about this relationship is that the Auradonians insist that those on the Isle of the Lost can improve their situation simply by “being good,” yet they deliver them unwanted or previously used products. They also deprive them of basic rights, such as freedom of movement or the internet. They’re even deprived of all television stations except for the Auradon News Channel (which, I’d imagine, would serve most directly propaganda purposes). Such systemic oppressions echo those in reality wherein those who belong to the dominant culture will tailor society so that it prevents cultural outsiders from enjoying the same benefits that they do, yet craft a narrative that they are simply oppressed because they choose to be. In a way, this creates a critique on prison and legal systems as well. Ben has explicitly called the Isle a prison and calls out his dad for the imprisonment of the Villains’ children when they had not committed a crime. Furthermore, it raises questions of what justice truly is and means. Not only were villains banished there and stripped of their powers to pay for their crimes, but for villains who had passed, the Descendants Wiki Page says they were resurrected because the heroes “thought death was too lenient a punishment for their misdeeds.”<ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> The Wiki Page further notes that “[s]ome villains are shown to have either adapted to this new life or have mostly lost grip on reality.” <ref> Descendants Wiki. https://descendants.fandom.com/wiki/Isle_of_the_Lost</ref> This deemphasis on rehabilitation (which is insinuated to be the goal with the propaganda posters put up around the Isle encouraging people to be good) in favor of blatant (and often blind) punishment is what truly helps solidify this parallel. ===Race=== Race, as it pertains to the categorization of humans based on physical qualities, is never discussed in the series. However, the social categorizations of “Heroes” and “Villains” (with “Auradon Kids” morphing overtime to encompass a mixed “Hero/Villain” culture) translates well to our concept of race, especially as they incorporate points of racial issues/tensions into the narrative, thus queering race by situating the dichotomy covertly within it. An example of the stealing of cultural traditions is shown through the appropriation of Villain culture by the Auradon kids, which they use to heighten their clout within their peer groups. This is initially framed as an act of rebellion against society, with Jane and Lonnie styling their hair after Mal’s and ripping their clothing to imitate them (declaring that these made them cool). However, what betrays it as critique on appropriation is that they (particularly Jane) isolate and discriminate against the VKs for the very aspects of their culture that they “borrowed” in the first place. Additionally, the franchise tackles the issue of a dominant culture stealing the cultural artifacts from the subaltern and refusing to acknowledge such actions in a meaningful way. <blockquote style=”border:none”> Audrey: “The Jewel-bilee is a dignified ceremony where each of us were given our birthright jewels.” Jane: “Once we had shown we were good.” Audrey: “And now, for the first time, they’re releasing jewels for the VKs!” Evie: “Releasing?” Audrey: “Well, yes. When the villains were relocated, their jewels were relocated.” Mal: “Translation: stolen.” Audrey: “It was so that they could be held safely. And now, Auradon will bestow them upon you with the majestic Jewel-bilee!” Freddie: “They’re giving us our own jewels? How generous…”<ref>“Descendants Wicked World”, Season 2, Episode 3. https://www.youtube.com/watch?v=OnjVNbTthXA </ref> </blockquote> It is important to note, however, that the subject is dropped after this. The VKs do not push for the jewels to be given back to everyone, nor do they call out the practice of giving them their jewels after they prove themselves worthy of them (especially since worthiness is in the eye of the beholder). In the second and the third movies, Uma is the character that embodies the queer struggle against society. She calls out the VKs for hoarding the wealth and privilege that they now enjoy and consciously deny to others back home. She, along with a litany of other characters from the Isle, rightfully call Mal and her crew out for enforcing the double standard simply because they now enjoy its benefits. ===Identities=== What serves as the final blow to spur Mal into advocating for the rights of the people on the Isle (and where the paralleled real life identities blur together) is the events of the third movie. During the climax of the movie, after an argument wherein it is revealed Mal was going to close the border for good, Uma and her allies storm off and Mal’s friends turn to stone. After Celia is taken hostage by Audrey, Mal attempts to fight her alone. It is only when Uma arrives again and helps Mal defeat Audrey that Mal arises victorious. Though the curse is lifted, Audrey is left in a comatose state. After Auradon magic proves to be too weak to save her, they call on Hades as a last resort. He arrives at the palace in chains, where he and Ben have a conversation that accentuates the allegory and makes it more obvious that they are not simply talking about heroes and villains, but tensions between different identities in real life. <blockquote style=”border:none”> Ben: Can you wake her? Hades: Since when do heroes care about villains? Ben: She’s- Hades: One of your own? *chuckles* Right. When you guys try to destroy the world, it’s an error in judgement. But when it’s one of us? Lock ‘em up and throw away the key.<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> After Audrey is saved, Hades is immediately dragged away to be put back on the Isle. As the Auradonians celebrate, Mal follows Hades and the two share a touching moment. At the party meant to celebrate her engagement with Ben, Mal refuses to become queen unless the barrier comes down, calling out Auradon’s prejudice against the Villains. <blockquote style=”border:none”> Mal: I’ve learned that you can’t live in fear because it doesn’t actually protect your from anything. You never know where the bad is going to come from, and you can never know where the heroes are going to come from… We are all capable of being good or bad, no matter what side of the barrier we come from. <ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> By advocating for the destruction of the barrier, what Mal is truly advocating for is the removal of the restrictions that have been imposed through these binary identities. Ultimately, what this movie advocates for is the belief that change is possible—that it is possible to choose to pave a “new beginning.” Still, it cautions that you must be aware of your own positionality. Such awareness can come from within (as it had for characters such as Uma and Hades) or from external factors (as was the case for both Ben and Mal). Once you reach that point, you can then truly see the metaphorical table for what it’s worth and create a plan to deconstruct it. <blockquote style=”border:none”> Mal: It’s time we take the barrier down forever. Adam: We can’t do that. Ben: It’s up to us, Dad. I choose to be a king who moves forward. It’s time for forgiveness. It’s time for new beginnings. The barrier will come down!<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> </blockquote> As the VKs said in the spell used to bring the barrier down: “To make the world a better place, we have to do it face to face.”<ref>Descendants 3 https://www.disneyplus.com/video/26145539-e707-49b5-a8bd-6bb2133356e7</ref> ==Criticism== ===The Elephant in the Room=== Equating queerness with a group called “the Villains” presents an obvious problem. “[We] must realize that traditional media queer codes villains through stereo-typical depictions of traits and behaviors in order to reinforce traditional gender roles and to equate deviancy with villainy.”<ref>Koeun Kim https://dialogues.rutgers.edu/images/Journals_PDF/2017-18-dialogues-web_e6db3.pdf#page=164</ref> This brings into place the very concept of deviancy. Deviancy in itself is not an evil trait. Many people considered by western society to be vastly successful can be labeled as deviants in many different ways, yet are worshipped. Deviancy is the root of innovation, yet it is scorned as the devil’s invention. Ultimately what it boils down to are the existence of binaries and identities. After all, what place does deviancy have in a society with no boundaries (and thus, no standard) to deviate from? ===Reinforcement of Gender Roles=== For a movie about deviancy from the norm, there’s still a surprising amount of adherence to it. Jay and Carlos’ room, for instance, is dimly lit with red lightbulbs and dark wooden furniture and has things like video game consoles and a 3D printer in it. Mal and Evie’s room, however, is filled with natural light and their furniture is white and pink and has things like a sewing machine and vases. Further, the main conflict of the third movie arises from both Mal and Audrey wanting to achieve a very heteronormative happy ending (marrying Ben to become the Queen of Auradon). Finally, though Evie is shown to be extremely gifted in chemistry, after the first movie and the spinoff animation, it is never mentioned again. Instead, she continues with a stereotypically feminine line of work. Digging even further into older conservative views of gender normative fashion, all of the Auradon women wear only dresses (usually in soft or pastel colors), further establishing the cultural divide between the AKs and the VKs (especially given the circumstances of deviancy being equated with evil). ===Intersectionality=== There are several actors of color in this series–some of whom are characters that were originally white (Cruella De Vil, Queen Leah). Additionally, it is notable that there is an extra who is disabled in all three movies—appearing in a wheelchair. However, does this count as representation? No. Ultimately, the characters who are not canonically a POC are white coded. Race is not an integral aspect of their characters. Somehow, even Mulan and her daughter, Lonnie, are white coded. Lonnie says that her mother makes her chocolate chip cookies when she’s sad. Further, when she is first introduced, her hair is the same shade that is associated with typical Mongoloid hair and cut in a stereotypical Asian way (not that I can say anything, my cousins and I all rocked the bowl cut growing up). She asks Mal to perform a spell to change her hair, and Mal replaces her old style with “new, cool, hair.”<ref>Descendants 1 https://www.disneyplus.com/video/53264bc8-20e3-476f-9e00-6e2a7ae3ccb7</ref> The resulting hairstyle has Lonnie sporting long, soft curls and a light brown that is unnatural for Asians. This changing of the hair in these ways would not be problematic if it weren’t for the preceding spell, which is insulates Asian features as being uncool (it is worth nothing the hair color changed back to the original shade in the second movie). Further, the other characters of color are widely caricatures of those identities. Jafar, and Arab man, is nothing like he is in the movie. In the movie, he is incredibly intelligent, limited only by his hunger for power. The Jafar in Descendants, however, is a conman. His son steals from the people of the Isle and gives the spoils to Jafar, who then sells it back to the residents. Further, Jay (at least half-Arab as well) is initially characterized as the most violent of the VKs. It is to the point that Chad says that all he likes to do is attack people. Also, when Mal visits Aladdin and Jasmine, she spits out the food they serve her into a napkin on live TV, which she and Evie later laugh about. ===Disney=== You’re feeding The Mouse your money by watching these movies. == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[Queer Coding in High School Musical|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Pitch Perfect|Queer Coding in Pitch Perfect]] If you are interested in learning more about queer coding in general, click [[Queer Coding|here]]. ==References== 739211b603f55c3874c080e489e5d9da5337abe7 0 61 709 699 2022-11-01T17:28:28Z Groomesdeja 19 /* Character Relationships */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following Stick to the Status Quo, Gabriella admits to Troy that singing with him felt “like kindergarten,” when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 195d522cdd6f26a7de1e23946bed054f69f8a85c 710 709 2022-11-01T17:35:27Z Groomesdeja 19 /* Queering Expectations */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 30792bde682ef85eb7d4289ae3b7ee2df2b7feef 711 710 2022-11-01T17:39:56Z Groomesdeja 19 /* Troy Bolton & Gabriella Montez */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities of their high school's assumptions. Troy promotes the ideal that he can be both a singer and the captain of the basketball team, and Gabriella can actualize her desire to be more than the genius girl, but talented too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining High School Musical 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 261803a1775d56f632e50bab80ea30f03a0fadcc 712 711 2022-11-02T21:35:52Z Groomesdeja 19 /* High School Musical 2 (2007): The Queer Antithesis */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities of their high school's assumptions. Troy promotes the ideal that he can be both a singer and the captain of the basketball team, and Gabriella can actualize her desire to be more than the genius girl, but talented too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = a5506f2036c73740d81a443c36c193c03f6f4dd9 713 712 2022-11-02T21:47:37Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities of their high school's assumptions. Troy promotes the ideal that he can be both a singer and the captain of the basketball team, and Gabriella can actualize her desire to be more than the genius girl, but talented too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. == The Bigger Picture == = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 5588fb9d227bd7a2da6ed11cbfd113da994b39f4 714 713 2022-11-02T21:48:05Z Groomesdeja 19 /* The Bigger Picture */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities of their high school's assumptions. Troy promotes the ideal that he can be both a singer and the captain of the basketball team, and Gabriella can actualize her desire to be more than the genius girl, but talented too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 05bb4df6a378870a1fced1de41804aeec2b10826 715 714 2022-11-02T21:51:07Z Groomesdeja 19 /* The Bigger Picture */ wikitext text/x-wiki The High School Musical trilogy is Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative, and even attempts to remove the overt queer-coding established in the first movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities of their high school's assumptions. Troy promotes the ideal that he can be both a singer and the captain of the basketball team, and Gabriella can actualize her desire to be more than the genius girl, but talented too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = Answer "why does it matter?" Relate to how wide-spread HSM franchise is and what this queer coded perspective adds to its cultural impact (invoke "destroying the table" and queering the expected, a theme at the heart of the franchise = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = c51e28c9ca84c5bccfaadbe4a1a8bf819d0b883d 716 715 2022-11-03T14:56:15Z Groomesdeja 19 wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities of their high school's assumptions. Troy promotes the ideal that he can be both a singer and the captain of the basketball team, and Gabriella can actualize her desire to be more than the genius girl, but talented too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = Answer "why does it matter?" Relate to how wide-spread HSM franchise is and what this queer coded perspective adds to its cultural impact (invoke "destroying the table" and queering the expected, a theme at the heart of the franchise = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = cae960c699299d4ccd2ded14fd48a51f65041261 717 716 2022-11-03T15:05:52Z Groomesdeja 19 /* Queering Expectations */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl, but a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work as an openly gay man. In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = Answer "why does it matter?" Relate to how wide-spread HSM franchise is and what this queer coded perspective adds to its cultural impact (invoke "destroying the table" and queering the expected, a theme at the heart of the franchise = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = eb489c9ce4baf56cc4a705be0ea4285ab2511f0e 718 717 2022-11-03T15:09:37Z Groomesdeja 19 /* Ryan Evans */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl, but a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = Answer "why does it matter?" Relate to how wide-spread HSM franchise is and what this queer coded perspective adds to its cultural impact (invoke "destroying the table" and queering the expected, a theme at the heart of the franchise = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = aaa6d94adebd3c2a060dc205faedaab359ed2307 719 718 2022-11-03T15:14:47Z Groomesdeja 19 /* Ryan Evans */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl, but a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to be “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = Answer "why does it matter?" Relate to how wide-spread HSM franchise is and what this queer coded perspective adds to its cultural impact (invoke "destroying the table" and queering the expected, a theme at the heart of the franchise = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = b40171571f6bbf392118cba133aea66d1532220b 720 719 2022-11-03T15:24:24Z Groomesdeja 19 /* Ryan Evans */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl, but a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to be “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies.” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs as the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan—as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = Answer "why does it matter?" Relate to how wide-spread HSM franchise is and what this queer coded perspective adds to its cultural impact (invoke "destroying the table" and queering the expected, a theme at the heart of the franchise = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 4d5dbaddef8284c5994b415084997c75245f7ca3 721 720 2022-11-03T15:25:40Z Groomesdeja 19 /* High School Musical 2 (2007): The Queer Antithesis */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl, but a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to be “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies.” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs at the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan--as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic shines through in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = Answer "why does it matter?" Relate to how wide-spread HSM franchise is and what this queer coded perspective adds to its cultural impact (invoke "destroying the table" and queering the expected, a theme at the heart of the franchise = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = dabfa01ba5d016479977ac4e7b90b904afeaaa06 722 721 2022-11-03T15:34:41Z Groomesdeja 19 /* Ryan Evans & Chad Danforth */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl, but a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to be “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies.” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs at the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan--as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic is apparent in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === Though the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = Answer "why does it matter?" Relate to how wide-spread HSM franchise is and what this queer coded perspective adds to its cultural impact (invoke "destroying the table" and queering the expected, a theme at the heart of the franchise = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 7f6951fee1523a26b48c749248a7a172deca5f3e 723 722 2022-11-03T15:41:29Z Groomesdeja 19 /* I Don't Dance */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl, but a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to be “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies.” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs at the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan--as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic is apparent in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === While the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to a queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audience ship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = Answer "why does it matter?" Relate to how wide-spread HSM franchise is and what this queer coded perspective adds to its cultural impact (invoke "destroying the table" and queering the expected, a theme at the heart of the franchise = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = bca24557d040240876fc4606b1aa631b17830e48 724 723 2022-11-03T15:44:14Z Groomesdeja 19 /* Re-instating the Normative? */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical (2006)'' = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl, but a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to be “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies.” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs at the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan--as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic is apparent in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === While the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to a queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audienceship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = Answer "why does it matter?" Relate to how wide-spread HSM franchise is and what this queer coded perspective adds to its cultural impact (invoke "destroying the table" and queering the expected, a theme at the heart of the franchise = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = b208e19505a9aff2fa03615598b91ff94a660e91 725 724 2022-11-03T16:25:20Z Groomesdeja 19 /* High School Musical (2006) */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical''(2006) = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl, but a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to be “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies.” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs at the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan--as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic is apparent in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === While the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to a queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audienceship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = Answer "why does it matter?" Relate to how wide-spread HSM franchise is and what this queer coded perspective adds to its cultural impact (invoke "destroying the table" and queering the expected, a theme at the heart of the franchise = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 9ed68672a518ef7777ecfc86cda6a343b644e94c 726 725 2022-11-03T16:25:30Z Groomesdeja 19 /* High School Musical(2006) */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical'' (2006) = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl, but a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to be “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies.” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs at the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan--as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella and Troy and Chad. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic is apparent in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === While the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to a queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audienceship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = Answer "why does it matter?" Relate to how wide-spread HSM franchise is and what this queer coded perspective adds to its cultural impact (invoke "destroying the table" and queering the expected, a theme at the heart of the franchise = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = d5923932a06d655b7d67766d283fb5c149983bce 727 726 2022-11-03T16:26:49Z Groomesdeja 19 /* Lava Springs */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical'' (2006) = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl, but a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to be “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies.” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs at the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan--as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella, Troy and Chad, and Sharpay and Ryan. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic is apparent in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === While the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to a queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audienceship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = Answer "why does it matter?" Relate to how wide-spread HSM franchise is and what this queer coded perspective adds to its cultural impact (invoke "destroying the table" and queering the expected, a theme at the heart of the franchise = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = ddefc2aaf988fc5f3d51bce2d2985214d53568a0 728 727 2022-11-03T16:48:58Z Groomesdeja 19 /* The Bigger Picture */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical'' (2006) = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl, but a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to be “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies.” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs at the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan--as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella, Troy and Chad, and Sharpay and Ryan. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic is apparent in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === While the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to a queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audienceship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = At the heart of the High School Musical trilogy is the theme of queering possibilities, destroying the table, and foregoing the norm. And it is these very themes that continue to present themselves with the series is re-watched. As a child, I enjoyed HSM for its musical performances and its idealistic portrayal of high school. It was only as I grew older that I began to realize how these its theme of not allowing others to determine your self-idenity lended itself well to subtler, more serious instances of labeling as seen on this page in terms of sexuality and relationships. A musical film franchise that has reigned as a cultural zeitgeist for over a decade, coupled with its expanded viewership and investment in the ideal that "everything is possible," truly embodies the spirit of the word queer. High School Musical is not a trilogy without its flaws. The few characters portrayed by actors of color are often left to advise their whiter, more three-dimensional counterparts, and there are also instances of racial ambiguity and misappropriation of cultural identity (Gabriella's character is assumed as Latina though portrayed by a half-Filipina actress). Answer "why does it matter?" Relate to how wide-spread HSM franchise is and what this queer coded perspective adds to its cultural impact (invoke "destroying the table" and queering the expected, a theme at the heart of the franchise = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 60c4560593f41a5bb5da04d078369bbe60f62987 733 728 2022-11-03T22:11:11Z Groomesdeja 19 /* The Bigger Picture */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical'' (2006) = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl, but a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to be “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies.” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs at the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan--as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella, Troy and Chad, and Sharpay and Ryan. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic is apparent in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === While the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to a queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audienceship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = At the heart of the High School Musical trilogy is the theme of queering possibilities, destroying the table, and foregoing the norm. And it is these very themes that continue to present themselves as the series is re-watched. As a child, I enjoyed HSM for its musical performances and its idealistic portrayal of high school. It was only as I grew older that I began to realize how these its theme of not allowing others to determine your self-idenity lended itself well to subtler, more serious instances of labeling as seen on this page in terms of sexuality and relationships. High School Musical is not a trilogy without its flaws. The few characters portrayed by actors of color are often left to advise their whiter, more three-dimensional counterparts, and there are also instances of racial ambiguity and misappropriation of cultural identity (Gabriella's character is assumed as Latina though portrayed by a half-Filipina actress).And I do not believe that the queer themes discussed on this page negate those issues. A musical film franchise that has reigned as a cultural zeitgeist for over a decade, coupled with its expanded viewership and investment in the ideal that "everything is possible," truly embodies the spirit of the word queer from my perspective. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = cd96ef14a43f5af5fc1c106a59abb7f22e02daa0 734 733 2022-11-03T22:12:50Z Groomesdeja 19 /* The Bigger Picture */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM movie musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) gaining over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release in theatres and gaining $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical'' (2006) = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team, and Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled as well by other individuals (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl, but a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to be “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies.” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs at the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan--as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella, Troy and Chad, and Sharpay and Ryan. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic is apparent in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === While the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to a queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release which as a result would allow the movie to gain a new audienceship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as Disney Channel Original Movie it has a family friendly target audience that would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006, would have been even more restricted in 2008 with the expectation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = At the heart of the High School Musical trilogy is the theme of queering possibilities, destroying the table, and foregoing the norm. And it is these very themes that continue to present themselves as the series is re-watched. As a child, I enjoyed HSM for its musical performances and its idealistic portrayal of high school. It was only as I grew older that I began to realize how these its theme of not allowing others to determine your self-idenity lended itself well to subtler, more serious instances of labeling as seen on this page in terms of sexuality and relationships. High School Musical is not a trilogy without its flaws. The few characters portrayed by actors of color are often left to advise their whiter, more three-dimensional counterparts, and there are also instances of racial ambiguity and misappropriation of cultural identity (Gabriella's character is assumed as Latina though portrayed by a half-Filipina actress). And I do not believe that the queer themes discussed on this page negate those issues in any sense. A musical film franchise that has reigned as a cultural zeitgeist for over a decade, coupled with its expanded viewership and investment in the ideal that anything and everything is possible, truly embodies the crux of the word queer from my perspective. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 8eb20afd7447db737e058f91136b550ffd73ccdc 736 734 2022-11-07T16:32:39Z ARStallings 10 wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie (DCOM) musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) seeing over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release, grossing $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical'' (2006) = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team while Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled by other individuals as well (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl–to be a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to be “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies.” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs at the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan--as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella, Troy and Chad, and Sharpay and Ryan. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic is apparent in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === While the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to a queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release, which allowed the movie the opportunity to gain a new audienceship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as a Disney Channel Original Movie, this family-friendly movie's targeted audience would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006 would have been even more reinforced in 2008 with the anticipation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = At the heart of the High School Musical trilogy is the theme of queering possibilities, destroying the table, and foregoing the norm. And it is these very themes that continue to present themselves as the series is re-watched. As a child, I enjoyed HSM for its musical performances and its idealistic portrayal of high school. It was only as I grew older that I began to realize how these its theme of not allowing others to determine your self-idenity lended itself well to subtler, more serious instances of labeling as seen on this page in terms of sexuality and relationships. High School Musical is not a trilogy without its flaws. The few characters portrayed by actors of color are often left to advise their whiter, more three-dimensional counterparts, and there are also instances of racial ambiguity and misappropriation of cultural identity (Gabriella's character is assumed as Latina though portrayed by a half-Filipina actress). And I do not believe that the queer themes discussed on this page negate those issues in any sense. A musical film franchise that has reigned as a cultural zeitgeist for over a decade, coupled with its expanded viewership and investment in the ideal that anything and everything is possible, truly embodies the crux of the word queer from my perspective. = Further Reading = Read more about queer coding in media by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 9a22be8a12f9cc5f6d2cb117ce9b192cfa1ab576 737 736 2022-11-07T17:58:42Z Groomesdeja 19 /* Further Reading */ wikitext text/x-wiki The High School Musical trilogy is a Disney Channel Original Movie (DCOM) musical franchise directed by Kenny Ortega that premiered on the Disney Channel in 2006. Since its premiere, High School Musical has remained a cultural phenomenon among children, teens, and adults. The first HSM movie also serves as the first movie-musical that premiered on the Disney Channel and has remained the primary inspiration for the preceding DCOM musicals such as Camp Rock, Teen Beach Movie, Descendants, etc. Despite the rise in popularity of made-for-television movie musicals, HSM has remained the leader in premiere-date viewers on the Disney Channel with High School Musical (2006) seeing over 7 million viewers<ref> [https://usatoday30.usatoday.com/life/television/news/2007-08-09-high-school-musical2_N.htm] USA Today Archives</ref> and High School Musical 2 (2007) amassing over 17 million viewers.<ref> [https://www.nytimes.com/2007/08/18/arts/television/18cnd-disney.html] The New York Times: Premiere of ‘High School Musical 2’ Breaks Ratings Record</ref> These record-breaking numbers resulted in the third and final film, High School Musical 3: Senior Year getting a theatrical release, grossing $252 million at the box office worldwide during its premiere weekend in 2008.<ref>[https://www.boxofficemojo.com/release/rl2807596545/] Box Office Mojo</ref> In 2019, the trilogy was given a spin-off/reboot, High School Musical: The Musical: The Series that premiered exclusively on Disney Plus. The first High School Musical film has one [[Queer Coding|queer-coded]] character but does not hint at any themes of sexuality. Contrastingly, the sequel, High School Musical 2, presents a queer-coded couple that is developed distinctly within this single film, and includes implications of an intimate relationship. The final installment, High School Musical 3: Senior Year, reverts back to the normative by removing the more overt queer-coded relationship established in the second movie. Within this page I will discuss queer coded characters and their relationships, as well as factors in each of the three films that either queer the expected norms or the established lore of the franchise. = ''High School Musical'' (2006) = High School Musical follows the lives of Troy Bolton and Gabriella Montez, who share a spark at a New Year’s Eve party after singing karaoke together. When the holiday break is over, Troy returns to school and resumes his status as captain of the basketball team while Gabriella struggles to find her place as a new student at East High. However, the couple’s shared love of singing together pushes them to break their high school’s social barriers by auditioning for the winter musical, leaving the students of East High reeling. == Queering Expectations == === Troy Bolton & Gabriella Montez === Troy and Gabriella’s efforts of auditioning for the winter musical, despite the many cautions from their respective social groups, notably queers the expectation of normativity. East High is an environment based on labeling and the construction of societal boxes at the start of the film. Thus, Troy’s labels (white, straight-passing, athletic, team captain, playmaker) serve as his social capital from the perspective of an East High School student. Gabriella, though a new addition to the East High setting, is quickly labeled by other individuals as well (non-white, straight-passing, Scholastic Decathlon competitor, new student). However, Troy and Gabriella do not heed these labels as they first meet in a setting outside of East High. While at the setting of the ski resort (and definitely while singing karaoke together), the labels hold no value and do not dictate their shared connection. During a conversation between the couple while escaping the chaos of the lunchroom following ''Stick to the Status Quo'' (a song all about reinforcing binaries and labels), Gabriella admits to Troy that singing with him felt “like kindergarten,”<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-script-transcript.html] High School Musical (2006) Script</ref> when you could meet someone and share an instant connection without knowing anything about them beyond that moment. The couple share their qualms about not wanting to be labeled at all, and how singing together provided that reprieve. Though Troy and Gabriella have essentially no support toward their love of singing and auditioning for the musical from their social groups for the majority of the film, they decide to queer the expectations of their high school’s social strata and forego the limitations of the labels that have been placed upon them. By auditioning for the musical despite the push-back they receive, Troy and Gabrielle embody what it means to queer the possibilities and destroy the table. Troy promotes the ideal that he can be both a singer and the captain of the basketball team (he tells his dad, "did you ever think maybe I could be both?"), and Gabriella can actualize her desire to be more than the school's genius girl–to be a holistic version of herself who enjoys musical theater, too. == Subtle Queer Stereotypes == === Ryan Evans === Ryan Evans is the twin brother to Sharpay Evans and makes up one of half of the antagonists-duo in this first film. Ryan’s character is a member of the drama club, along with his sister, and is a student completely dedicated to his high school theatre. Though Ryan’s character is quite flat and often displayed as a sidekick to his sister in this first movie, he is coded as stereotypically queer from the beginning. Ryan’s one-dimensional nature exacerbates his attention to fashion (he is often wearing a fedora and dress clothing) as well as theatre, making them his defining characteristics. In an interview with 2020 Variety, High School Musical director Kenny Ortega states that he believes a queer aesthetic is present in all of his films as he intentionally puts a lot of who he is into all of his work (Ortega is openly gay). In response to a question on whether he believed it would have been possible to make the character of Ryan openly gay, Ortega states that he believed Disney was not ready to “move into that territory” due to the film’s family-friendly target audience. Instead, Ortega took the liberty of “mak[ing] choices that [he] felt that those who were watching would grab” in relation to Ryan’s character.<ref> [https://variety.com/2020/film/news/director-kenny-ortega-pride-high-school-musical-1234694033/] Director Kenny Ortega on the Queer Aesthetic of His Movies From ‘Hocus Pocus’ to ‘High School Musical’</ref> Similarly, actor Lucas Grabeel who portrayed Ryan stated in a 2019 interview that he had various conversations with Kenny Ortega about his high school experience before he came out as gay. Grabeel goes on to mention how he wanted his portrayal of Ryan to be “subtle” and filled with nuance and “little things that you might catch the second or third time you see the movies.” Grabeel was invested in displaying Ryan’s complexity as a character and making him both relatable and well-rounded.<ref> [https://tvline.com/2019/12/27/high-school-musical-ryan-gay-lucas-grabeel-interview/] High School Musical's Lucas Grabeel Returns to East High, Reflects on Why Ryan's Sexuality 'Didn't Need a Label'</ref> Though the character of Ryan is quite one-dimensional and defined by subtle queer stereotypes in this first film, the intentionality of his queer coding by Ortega shines through. I grew up watching High School Musical an excessive amount as child and continued re-watching the franchise through my teen years and into adulthood. Thus, Ryan’s queer coding became more apparent as I began to understand the concept of self-discovery that we witness through his character arc over the course of the three films. = ''High School Musical 2'' (2007): The Queer Antithesis = High School Musical 2 is the direct sequel to the first installment. In this film, the students of East High are welcoming their summer vacation. Troy, Gabriella, and the rest of the gang all land jobs at the country club, Lava Springs, which clashes with the vacation plans of Sharpay and Ryan--as well as their sights on winning the country club’s talent show. I’m coining HSM 2 as the queer antithesis to the first installment as both the established location and character relationships are all queered in this sequel. While the overall plot of High School Musical 2 is similar in tone to its predecessor, this second installment is bolder in its queer coding, and does not shy away from disrupting ideals of heteronormativity and labelling that were introduced in the first film. == Queering the Environment == === Lava Springs === The new setting of the country club, Lava Springs, queers the original high school setting as well as its assumed social structure. Within this new setting, there is room for new character interactions as seen with the pairings of Chad and Ryan and Troy and Sharpay. There are also challenges to previously established relationships such as ruptured connections between Troy and Gabriella, Troy and Chad, and Sharpay and Ryan. == Character Relationships == === Ryan Evans & Chad Danforth === The most prominent instance of queer coding in this sequel lies in the newly established relationship between characters Ryan Evans and Chad Danforth. The two have no interactions or scenes together (barring the final group performance) in the first film, but a queer romantic relationship is showcased between them in High School Musical 2. Ryan and Chad perform a duet in the song, I Don’t Dance, which takes place during a baseball game. The premise of the song is that Ryan has been established as the choreographer for the employee’s performance in the Lava Springs talent show. Chad, however, is very vocal about how he is not dancer, thus, he will not perform in the show—especially if Troy is no longer a part of it. During the course of the number, Chad does, in fact, dance whilst singing about he doesn’t and simultaneously forms a new bond with Ryan. (See the I Don’t Dance portion under the Queer Allegories section for a further analysis). Another infamously queer coded scene follows the conclusion of the baseball game when Chad says to Ryan, “I’m not saying I’m going to dance in the show, but if I did, what would you have me do?” Though Ryan’s back is turned to Chad, he has a smile on his face as he walks away. The next scene featuring Ryan and Chad shows that the two have swapped clothes, hinting at an intimate interaction occurring between the two following the baseball game. Chad has also seemingly warmed up to Ryan as he is smiling and the two are poking fun at one another. When asked about the hidden meaning behind the outfit swap in a 2021 interview with Insider, Lucas Grabeel stated that the switch was prompted by Kenny Ortega. According to Grabeel, Ortega suggested that the two first swap hats, and then swap shirts. Though Grabeel states that the outfit swap was not intended to be homoerotic from his perspective, he recalls that the scene was shot both with and without the outfit swap, and Kenny Ortega made the final decision to keep the swap in the film’s final cut.<ref> [https://www.insider.com/high-school-musical-2-lucas-grabeel-baseball-outfit-swap-interview-2021-1] 'High School Musical' star Lucas Grabeel weighs in on a long-debated outfit swap between Ryan and Chad in the sequel</ref> Thus, Kenny Ortega’s aforementioned queer aesthetic is apparent in this coded scene that deconstructs and complicates all labels placed upon the two characters. This new connection between Chad and Ryan is the epitome of a queered relationship as well as a queer coded romance. In the first film, Chad and Ryan were perpetrators of forcing both Troy and Gabriella to remain within their social spheres, essentially promoting the sentiment of labeling and binaries as discussed in the previous section. However, in this sequel, the two queer heteronormativity as two boys engaging in on-screen flirting and off-screen intimacy. Additionally, the two characters are granted their own agency from this new relationship. Ryan is no longer the mere male counterpart to Sharpay as he has goals and interests of his own. Later in the film, Sharpay comes to realize that Ryan has gained a new sense of agency outside of her shadow when she asks him "when did you become one of them?" to which Ryan replies that he will "take that as a compliment."<ref>[http://www.script-o-rama.com/movie_scripts/h/high-school-musical-2-script.html] High School Musical 2 Script</ref> Similarly, Chad’s character goes beyond the Black Best Friend<ref>[https://mediachomp.com/the-black-best-friend-archetype/] The “Black Best Friend” Archetype</ref> media trope as he discovers a sense of himself performing with Ryan. Thus, this relationship brings forth ideals of challenging ideologies of identity and instead engaging in the practice of non-labeling. By the end of the film, these themes are solidified when Troy and Chad reconcile the rift in their friendship, and Chad mentions to Troy that he has to see Ryan play baseball. Chad is excited to share this newly discovered part of himself with Troy that nearly parallels his eventual acceptance of Troy's auditioning in the previous installment. The queer-coded relationship between Chad and Ryan thus extends beyond the performance of I Don’t Dance and the baseball scene, and situates itself as a prominent part of their respective character development. Though it can be noted that Chad and Taylor resume their romance by the end of film, this notion does not counter the romantic and intimate relationship that Chad shared with Ryan. Both instances of romance can be true, and can even be representative of the disarranged relationships that teenagers engage in. There has been a wide range of reception to the queered relationship between Chad and Ryan among High School Musical fans. The I Don’t Dance performance and the coded romance between the two characters has garnered a variety of YouTube video essays, cultural think-piece articles,<ref>[https://www.cosmopolitan.com/uk/love-sex/relationships/a32067305/high-school-musical-gay-characters-ryan-chad/]There's a fan theory that Chad and Ryan in High School Musical were gay and honestly it makes so much sense </ref> and slash fanfictions<ref>[https://archiveofourown.org/tags/Chad%20Danforth*s*Ryan%20Evans/works?page=3] Chad and Ryan Archive of Our Own Fanfictions</ref> across the internet. == Queer Allegories == ===''I Don't Dance'' === While the literal meaning of the song I Don’t Dance fits into the clearly stated plot of High School Musical 2, the lyrics also lend themselves well to a queer allegory. The song is sung as a duet by both Chad and Ryan, and the “dancing” that is referenced in the song can be viewed as a metaphor for exploring one’s sexuality as claimed by YouTube video essayist, 24 Frames of Nick<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref>. In the song, Ryan claims that dancing and baseball are one in the same, essentially conveying the sentiment that he and Chad are not so different despite being in “opposing” social circles (theatre vs. sports). Ryan goes on to suggest that Chad “will never know unless [he] tries,” promoting the notion of that underlying intimacy. Chad responds to Ryan by stating that there is only one thing that stops him from believing Ryan’s words, but he does not supply what that fear is. As established in the Character Relationships section of this page, Chad’s initial fear of labelling can be cited as the thing he most wants to avoid. Thus, giving into to his new connection with Ryan—and even more so, engaging in an intimate relationship—would bring that fear into fruition. However, the irony of Chad claiming not to dance while dancing during the performance also serves as proof of his conquering that fear and learning to embrace a new relationship with Ryan. =''High School Musical 3: Senior Year'' (2008)= The third and final installment, High School Musical 3: Senior Year, follows Troy, Gabriella, and the rest of the gang as the navigate their final weeks of high school in which they navigate tough decisions about college and prom while also starring in their last ever high school musical. As mentioned at the beginning of this page, High School Musical 3 was the only theatrical release of the franchise. == Queer(ed) Relationships == === Ryan Evans & Kelsi Nielson === In High School Musical 3, the event of senior prom sees the pairing off of multiple couples from the main cast. While most of the pairs have been established over the course of the first two installments (Troy and Gabriella, Chad and Taylor, Sharpay and Zeke), there is one new addition as seen with character Ryan Evans and Kelsi Nielson who attend the prom together. While we have thoroughly established the overt queer coding of character Ryan on this page, there is also an argument to made about the subtle queer coding of Kelsi. Kelsi Nielson serves as a supporting character in all three films, and takes on the role of the composer for the majority of the musical songs featured in the franchise (e.g. Breaking Free in High School Musical, You Are the Music in Me in High School Musical 2, and Just Wanna Be With You from High School Musical 3). Like Ryan, Kelsi is a member of the drama club and seems to place most of her energy into songwriting and composing music. While she shares a fleeting moment with ensemble character, Jason, at the end of the first film, Kelsi’s character is not given a true love interest until this final installment. Some fans have speculated that Kelsi may have been coded as queer due to her disinterest in romance, even despite her attending the prom with Ryan. In a video essay by Youtuber 24 Frames of Nick, creator Nick states that Kelsi was a mere red herring and beard for Ryan in High School Musical 3.<ref>[https://www.youtube.com/watch?v=wP9lnN9rrd0] Why Did Chad and Ryan Switch Clothes in High School Musical 2</ref> However, many of the comments on this video essay challenge this notion with claims of Ryan and Kelsi attending the prom in solidarity with one another as queer individuals. I am inclined to agree with the commenters that Ryan and Kelsi being viewed through a queer-coded lens while also attending the prom as a heteronormative couple do not need to be mutually exclusive. Moreover, the non-labeling of both Kelsi and Ryan through a coded understanding of their identity lends itself to the ideal of rejecting labels that society upholds. However, I do believe that there is yet another reasoning behind this newly formed pair. === Re-instating the Normative? === Though Ryan and Kelsi’s pairing disrupts normativity when viewed through a queer coded lens, the intentionality behind their new relationship in this final film should also be examined. High School Musical 3 was the single film of its franchise to receive a theatrical release, which allowed the movie the opportunity to gain a new audienceship. As mentioned at the beginning of this page, High School Musical 3 was a box office success in 2008. Additionally, as a Disney Channel Original Movie, this family-friendly movie's targeted audience would grow exponentially with the theatrical release. Director Kenny Ortega’s initial hesitation of portraying character Ryan Evans as openly queer in 2006 would have been even more reinforced in 2008 with the anticipation of an even wider viewing of the series. Thus, the more cautious decision to place Ryan into a heteronormative coupling (though he is still coded as queer), would satisfy the possible fears of parental outcry held by Disney. = The Bigger Picture = At the heart of the High School Musical trilogy is the theme of queering possibilities, destroying the table, and foregoing the norm. And it is these very themes that continue to present themselves as the series is re-watched. As a child, I enjoyed HSM for its musical performances and its idealistic portrayal of high school. It was only as I grew older that I began to realize how these its theme of not allowing others to determine your self-idenity lended itself well to subtler, more serious instances of labeling as seen on this page in terms of sexuality and relationships. High School Musical is not a trilogy without its flaws. The few characters portrayed by actors of color are often left to advise their whiter, more three-dimensional counterparts, and there are also instances of racial ambiguity and misappropriation of cultural identity (Gabriella's character is assumed as Latina though portrayed by a half-Filipina actress). And I do not believe that the queer themes discussed on this page negate those issues in any sense. A musical film franchise that has reigned as a cultural zeitgeist for over a decade, coupled with its expanded viewership and investment in the ideal that anything and everything is possible, truly embodies the crux of the word queer from my perspective. = Further Reading = Read more about queer coding in musical films by visiting the linked pages.<br> [[Queer coding in Lemonade mouth]]<br> [[Queer Coding in Descendants]]<br> [[Queer Coding in Pitch Perfect]]<br> = References = 15677f513f9a62cdff70b9564cc8acb1b3d18f31 0 52 735 697 2022-11-06T01:06:00Z Brwilson1 12 /* The Lack of Queer Coding in the Treblemakers */ wikitext text/x-wiki The film Pitch Perfect<ref>IMDB, Pitch Perfect[https://www.imdb.com/title/tt1981677/plotsummary]</ref>, originally released in 2012, starred a motley crew of college women, each fighting for a place to call home at Barden University. Each came from a unique upbringing, but we follow Becca, an “alt” <ref>Cambridge Dictionary, “Alt” Definition[https://dictionary.cambridge.org/us/dictionary/english/alt]</ref>girl who preferred to stay in her room and DJ. Her father, a professor at Barden, gave her an ultimatum. She had to join one club, and if she still hated Barden, he would pay for her to move to LA and pursue a career in DJing. She chose to join the Universities all-girls acapella group “The Barden Bellas." The group goes through a series of trials but ends up winning the national championship. The musical movie<ref>Wikipedia, Musical Movie [https://en.wikipedia.org/wiki/Musical_film]</ref> only has one explicitly queer character, Cynthia Rose. We will discuss her and the stereotypes surrounding her character, and we will also discuss the [[Queer Coding|queer coding]] of the main character Becca, and the Bellas rival group, an all-male accappella team “The Treblemakers”. Furthermore, we will discuss how intersectionality plays into characters like Cynthia Rose and Fat Amy. == Explicitly Queer Characters in Pitch Perfect == The only explicitly queer character in Pitch Perfect is Cynthia Rose. Cynthia is a black lesbian on the Barden Bellas. Throughout all three Pitch Perfect films, Cynthia Rose is cast in a stereotypical way. A hyper masculine lesbian woman who explicitly hits on women, and even at certain points makes the other women uncomfortable <ref>Cynthia Rose in Pitch Perfect Critical Media Analysis[https://medium.com/@vanhees7/critical-media-analysis-cynthia-rose-of-pitch-perfect-51cee4631824]</ref>. This characterization of hyper masculine black woman who is even mistaken as a “dude” at the auditions, shows that the explicitly queer characters directly play into the harsh stereotypes of queer individuals. First we will analyze Cynthia’s blackness and its contribution to the film. Throughout all three films Cynthia is cast as the harmful stereotype of a “sassy black woman”. Her speaking contributions throughout most of the films are witty comebacks, pushing back against authority, and being overall sassy towards the other women of the Bellas. The sassy black woman caricature has been used throughout our history to trivialize the experiences of black woman and the anger they often feel toward systems of oppression. Pitch Perfect consistently characterizes Cynthia as a basic “sassy black woman”<ref>The Sapphire Caricature, “Angry Black Woman”[https://www.ferris.edu/HTMLS/news/jimcrow/antiblack/sapphire.htm]</ref>. Even though she is not being sassy about the systems of oppression surrounding her race per se, the mere characterization of her as an angry black woman is one that trivializes her struggle as one of the only persons of color in the film. Furthermore, Cynthia Rose is classified as a hyper-masculine lesbian, who seemingly has sexual attraction to every woman she sees. This is yet another harmful stereotype cast on Cynthia Rose as the only explicitly queer character in the films leading cast. Queer does not fit into a stereotype, nor is it something that is explicitly definitive. To make Cynthia Rose a hyper-masculine lesbian that directly fits into all of the stereotypes is to minimize the idea that queer individuals can have varying levels of gender performance. Gender performance and sexuality are two completely separate categories and by making the only queer character outside the gender norms of the other members of the Bellas equates the two. Lemonade Mouth also confronts a similar issue with the queer coding of Hayley Kiyoko's character, Stella, when discussing her gender performance. For more information on Stella and Lemonade Mouth, see [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]]. That all being said, it is incredibly refreshing to see an explicitly queer character in a major film. In 2012, we were pre-Marriage equality, and there were very few explicitly queer characters in films. Especially those directed at younger pre-teen audiences. To see someone like Cynthia Rose representing the community is refreshing and a positive step forward. However, this places even more weight on the representation of the only queer character in the film, and almost makes the stereotypical behaviors and norms of Cynthia Rose more problematic. Queer and black characters desreved to be represented outside of the stereotypes that typically bind them in society, and in this film, Cynthia Rose was not represented in such a way. == The Lack of Queer Coding in the Treblemakers == The Treblemakers are the male counterparts and rivals of the Barden Bellas. They are an all male acapella group, with mostly straight identifying males. Not a single one of them is queer, or even queer coded. This is interesting because as we will later explore, many of the Bellas are queer coded, even though only one is explicitly queer. In this section I will break down some of the implications of this by discussing two of the Treblemakers, Bumper and Benji. First, Bumper. Bumper is the leader of the Treblemakers and the frontman. Throughout the movie he is personified as a hypermasculine and egotistical leader, who puts himself before the others of the group. I say hypermasculine with a slight caveat, he obviously is a singer and thus is viewed as less masculine than a sports player per se, but as far as the leading characters of Pitch Perfect go, he is as masculine as they come<ref>Bumper Allen from ‘Pitch Perfect’ Deserves Your Respect[https://www.theringer.com/movies/2017/12/22/16807460/pitch-perfect-bumper-allen-adam-devine]</ref>. In one of the first scenes of the original Pitch Perfect, Bumper and a friend stand at a party looking for girls to take home with them. Even though they do not have much luck, this first and explicit dictation of the heterosexualness of Bumper is clear and evident. It leads the audience to raise the question, why are all the men in this movie explicitly and aggressively straight? The women throughout the movie are consistently queer coded, or used in certain queer baiting schemes, but the men are straight through and through. Even so stereotypically straight, that they behave in a hyper masculine way. The second character I would like to talk about is Benji. Benji is a freshman at Barden and the roommate to a new member of the Treblemakers<ref>Benji Applebaum[https://www.charactour.com/hub/characters/view/Benji.Applebaum-Pitch.Perfect]</ref>. He desperately wants to be a part of the group, and does not make the team because he is a bit weird. A star wars superfan and lover of magic, his social skills are a bit lacking. His portrayal as the opposite of overly-confident and hyper masculine Bumper makes him a side character throughout the film. The only Treblemaker who might exhibit a chance at being queer coded is still aggressively straight. He doesn’t get many girls in the first movie, due to his lack of being in very many scenes, but the first time we see him in the second movie is to watch him hit on a new girl. Many fans theorized that Benji would be the first queer treblemaker, but the writers quashed that within 15 minutes of the second film. In High School Musical, Ryan and Chad have a queer-coded relationship at certain points, but it is quashed by Chads relationship. For further reading on queer coding in High School Musical, see [[Queer Coding in High School Musical]]. Pitch Perfects explicit lack of male queer coding is interesting, especially in comparison to the amount of queer coding within the Barden Bellas and other female characters. It raises many questions we can’t necessarily answer within this specific Wiki, but important questions for future scholarship. Like, how does masculinity play into the queer coding of characters? Are queer women somehow more important to the plotline than queer men? That all being said, the members of the Treblemakers are not the main characters or the film, so it is possible different members would be queer coded if the movie had been about them, but because they are side characters their sexuality was of less consequence. Nonetheless, these conversations are still important as the movie draws a distinct line between women and men when it comes to queer-coding. == Queer Coding of Becca== Becca is the main character of the movie. She is an emotional and introverted girl who is completely adverse to the idea of college. Her parents were divorced when she was young, and she turned to music and DJing as an emotional outlet and escape. She never wanted to go to college, but her dad who was a professor at Barden University made her. After a couple of weeks, he gave her an ultimatum, join a club and if you still hate college, I will pay for you to move to LA and become a DJ. Becca ultimately joins the Barden Bellas and makes a close group of girlfriends and chooses to stay at Barden. Becca's queer coding doesn’t begin until the second movie. In Pitch Perfect 2, the Bellas go to the world championships and compete against the German super group “Das Sound Machine”. The lead singer is a classically beautiful woman. After Becca meets her for the first time she makes the statement “you make me question my sexuality”. Throughout the film Becca comments on her attractiveness and the confusion it causes her. Although it is a small part of the plot, it lead the way to her continuous queer attributes and comments throughout both the second and third movies. Furthermore, Anna Kendrick herself believes that her character, Becca, is 100% a lesbian, despite her previous heterosexual relationships <ref>Anna Kendricks Interview[https://hellogiggles.com/reviews-coverage/movies/anna-kendrick-pitch-perfect-lesbian/]</ref>. In the third movie, we see a fan favorite couple Becca and Chloe (another leader of the Bellas) have increasing amounts of sexual tension. Across the internet people were writing fan fiction and blogs about “Becchloe" and shipping the two women together <ref>Tumblr, Pitch Perfect Queerbaiting and Becchloe[https://at.tumblr.com/favberrys/queerbaiting/u002cxgh5fkc]</ref>. The producers of the third film took advantage of this greatly, placing the two Bellas in sexually tense situations throughout the entirity of the movie <ref>Anna Kendricks Interview[https://www.them.us/story/pitch-perfect-has-a-queerbaiting-problem]</ref>. At one point they even grab each other's breasts<ref>Becchloe[https://www.flare.com/tv-movies/pitch-perfect-3-bechloe/]</ref>. The tension between these two leads to the continuance of the queer coding of Becca. If she at one point had a crush on the lead singer of “Das Sound Machine", it is perfectly viable that she would have a crush on the other lead singer of the Bellas. But what are the consequences of Becca's queer coding throughout the films? Well, for starters, Becca is an attractive and moderately wealthy white woman. Her queerness is significantly more acceptable than a black womans, like Cynthia Rose, to the public eye. People want to be fed a skinny, white, girl who also likes skinny, white, girls. They are more adverse to a character, like Fat Amy for example, being queer. Becca also exhibiting certain traits that make her more likely to be a queer character, like her clothing and hair styles, and her general aversion to feminine things, make her a character that is almost obviously queer coded. While she does have publicly heterosexual relationships, her explicit attraction to different women in the film make her the most obviously queer coded character. == Intersectionality of Fatness, Race, and Gender Presentation == In this section, I want to talk about how the intersectionsof fatness, race, and gender presentation impact the queer coding in Pitch Perfect. First, let's talk about Fat Amy. Fat Amy is an Australian Barden Bella actually named “Patricia”. She goes by Fat Amy because she seeks to reclaim the word “fat”. In fact she says, “I call myself Fat Amy so twig b*tches like you don’t do it behind my back”<ref>To Bitch About Pitch (Perfect) [https://thirtysix24thirtysix.wordpress.com/2012/10/05/to-bitch-about-pitch-perfect-an-analysis-of-the-trailer-and-other-thoughts/]</ref>. Fat Amy’s fatness is the central aspect of her character, which is why she can not be queer coded. My argument is that the writers of Pitch Perfect seek to not discuss intersectionality, but place characters in certain marginalized “boxes" that become their entire personality. For fat Amy, her fatness is her “box” that becomes the entirety of her personality. She can not be queer, because if she was, fatness could not be the only thing that she could talk about or represent. People are multi-faceted, and in the real world, the intersectionality of queerness and fatness is one faced frequently by queer individuals. They are more than just fat, or queer, but the sum of all of their identities. In Pitch Perfect, the queer coded individuals are ones like Becca, who are white and skinny. There is no other marginalized aspect of their personality other than their potential queerness. This is much easier for the general public to digest. If a member of the public can see a pretty white girl being gay, then they are ok with it. But once a black woman, or a fat woman, or any combination of other identities is gay, it is not ok. The choice to only queer code Becca is one explicitly made becuase she was easy to queer code, and easy for audiences to accept her as queer coded. That all being said, fatness being actually represented and acknowledged in such a widely popular film is a positive step in the right direction, and gave a lot of people hope for the future of fatness and its representation in film <ref>”What its like to be a Fat Actress in Hollywood” [https://slate.com/culture/2015/05/fat-amy-in-pitch-perfect-2-what-its-like-being-a-fat-actress-in-hollywood.html]</ref> We have already discussed Cynthia Rose at length, but I want to talk about how the intersection of her blackness and gender presentation make her a unique character in the franchise. Cynthia Rose's mere existence undermines my theory that characters in Pitch Perfect are placed in individual and specific boxes based on one, specific, marginalized community. Cynthia Rose is a black, masculine, lesbian woman, obviously she is the definition of intersectionality. That being said, she is also written as the most stereotypical black, lesbian, masculine, women possible. If a character is intersectional, they have to be one that audiences can accept. Most audiences do not like to have their stereotypes challenged. They want to be fed content they think is true, like lesbians being hyper-sexual and predatory, black women being “sassy”, and lesbianism equating to gender performance<ref>Timeline of Problematic Lesbian Jokes in Pitch Perfect[https://www.intomore.com/culture/a-comprehensive-history-of-problematic-lesbian-jokes-in-pitch-perfect/]</ref>. Even if there is intersectionality within a character, that intersectionality has to fit the portrayal that has already been implemented in the media. They are not “breaking the status quo” with the queer coded and explicitly queer individuals that are apart of the cast. They want to give people the kind of queer person they want to see, and even if that person is apart of other marginalized communities, those communities must be represented in such a way that is easy to digest and does not challenge the negative understandings harbored by the world already. Lastly, I want to discuss the kind of audience who watches Pitch Perfect. I am a white, cis-gender, heterosexual, woman, and most of my friends identify similarly. We adore Pitch Perfect, and even though I just wrote this Wiki basically critiquing the entire film, I will continue to watch and enjoy the movie and its soundtrack. But why are cis-gendered, heterosexual, women so obsessed with this franchise? I think a big part of it is the fact that it tells the story of the college experience as so often experienced by heterosexual and cis-gendered women. We join a sorority and make friends, and then we interact with cute boys in fraternities who we end up dating. We go to parties, and work to balance school and sorority activities. It tells the story of us, and it's just heartwarming. A crew of girls who weren’t supposed to win, win? We love an underdog story. My friends and I adore these films, and even with their problems, there is some merit to the fact that they do have representation that was uncommon in the early 2010s. To have a black lesbian as a lead character in a blockbuster film was not common. I think cis-gendered and hetersexual women also enjoy these films because it affirms certain perspectives of college. It reaffirms us in the fact that college can be tough, and that female friendships are important in your growth and success. Mostly, it reaffirms our decision to join all-female organizations like sororities. Pitch Perfect isn’t perfect, nor does it appeal to every group. It enforces certain problematic stereotypes and reaffirms systems that are not perfect. I sought to write this wiki because I wanted to highlight those problematic things from a real fan, and show that while we may enjoy certain movies, it is important to look at them through a critical eye, and understand their flaws. == For Further Reading == If you are interested in learning more about queer coding in musical films, look at the following wiki pages: [[High School Musical & Queer Coding|Queer Coding in High School Musical]], [[Queer coding in Lemonade mouth|Queer Coding in Lemonade Mouth]], [[Queer Coding in Descendants|Queer Coding in Descendents]] == References == d71c2fb29a68d297944d07b5f516b1d8794fc689 0 55 738 489 2022-11-07T22:41:49Z Matrim112830 2 wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Archivists== ===Invisible Histories Project=== https://invisiblehistory.org/ <blockquote>The Invisible Histories Project locates, preserves, researches, and creates for local communities an accessible collection of the rich and diverse history of LGBTQ life in the US South. Currently, IHP collects in Alabama, Mississippi and Georgia. IHP acts as an intermediary between the Queer community and various institutions like universities, museums, archives, and libraries in order to preserve Southern LGBTQ histories.<ref>https://invisiblehistory.org/</ref></blockquote> ===[[The Dallas Way]]=== ===YesterQueer DFW=== https://www.facebook.com/todd.camp/about ===Weber Queer Archives=== https://www.weberqueerarchives.org/ == Activists == ===MPact FTW=== <blockquote> MPACT DFW mobilizes young gay/bisexual men to shape a healthy community for themselves, build positive social connections, and support their friends to have safer sex. </blockquote> https://www.mpactdfw.org/ === Shop Queer === <blockquote> an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ </blockquote> ===Queers 4 Climate Justice=== https://www.instagram.com/queers4climatejustice == Artists == ===Here To Stay=== <blockquote> Supporting LGBTQ artists, musicians, and mutual aid groups in DFW. </blockquote> https://linktr.ee/Heretostaynonprofit ===Third Space DFW=== <blockquote> Mission Statement Creating safe spaces for the LGBTQIA+ community. Providing platforms for our voices to be heard. Colliding community with resources. Giving rise to queer ideas, art, and individuals. We will not hide, shy away, or be ashamed. We are something new and unrecognizable a newly defined era of meaning and representation.<ref>https://thirdspacedfw.org/</ref></blockquote> https://thirdspacedfw.org/<br> https://www.instagram.com/thirdspacedfw/ ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ ===The Pansy Project=== https://thepansyproject.com/ ===Bad Queers Podcast=== https://badqueerspod.buzzsprout.com/ ===The Cyborg Jillian Weise=== http://jillianweise.com/<ref>http://jillianweise.com/</ref><br> https://www.instagram.com/p/Ci3Yguwr7lm/?igshid=NjZiMGI4OTY= == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== Podcast But Outside<br> https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> https://www.youtube.com/watch?v=S-jhXnqO6mc ===Hans Christian Anderson=== https://www.instagram.com/p/CidCv4kOp7o/?igshid=NjZiMGI4OTY= ===Random Tweet=== https://twitter.com/jpbrammer/status/1402366272298532866 == References == <references/> 27a7af355c99da3b7c70210331cb5d27efb721c8 0 54 739 374 2022-11-14T16:19:43Z Sofun 15 wikitext text/x-wiki Transition to Detransition:Twin Sisters == "Childhood" Relationship == Andrea and Sinead Watson’s lives started out as “normal” as their life could get. Then the older sister, Andrea, was born in 1986 and was the only child until Sinead came along five years later. Sinead does not believe that childhood exists, but what others would deem as childhood she says was far from perfect for her. Even though they were not closer when they were younger, Andrea still took on her role as a big sister. Andrea protected her from bullies and comforted her when their parents were arguing. However, once Andrea hit her teenage years, she was kicked out of their house. Sinead did not keep in contact with her at all over the years. It was not until Andrea had her first child. Her child allowed them to grow closer than they had ever been. They began to be each other’s true support systems through everything except it did not last long. Their relationship became extremely tested when Sinead decided she wanted to identify as a trans man. Sinead did not make this decision lightly and wanted to transition as quickly as possible which Andrea did not agree with. == Family Background == == Sinead Watson == == Psychologic Effects == == Photos == == References == <references/> 7fcdacdaa4bf0f5683d2a2126df2a22260765dd8 740 739 2022-11-14T16:51:43Z Sofun 15 wikitext text/x-wiki Transition to Detransition:Twin Sisters == "Childhood" Relationship == Andrea and Sinead Watson’s lives started out as “normal” as their life could get. Then the older sister, Andrea, was born in 1986 and was the only child until Sinead came along five years later. Sinead does not believe that childhood exists, but what others would deem as childhood she says was far from perfect for her. Even though they were not closer when they were younger, Andrea still took on her role as a big sister. Andrea protected her from bullies and comforted her when their parents were arguing. However, once Andrea hit her teenage years, she was kicked out of their house. Sinead did not keep in contact with her at all over the years. It was not until Andrea had her first child. Her child allowed them to grow closer than they had ever been. They began to be each other’s true support systems through everything except it did not last long. Their relationship became extremely tested when Sinead decided she wanted to identify as a trans man. Sinead did not make this decision lightly and wanted to transition as quickly as possible which Andrea did not agree with. == Sinead's Transition == Before she had these thoughts of wanting to transition, she already struggled with social situations. Almost every environment she immersed herself in made her feel anxious. This led her to not want to tell anyone around about how she was feeling or what she was thinking. Sinead was against the idea of putting her own burdens onto others. Eventually, she realized that holding in all of her “troubles” was only making things worse. She truly resented being a woman about a year down the road. Instead of talking to other individuals, she turned to the Internet, specifically Google. Sinead would search phrases like, “I hate being a woman and wish I was a man.” Her findings we dominantly in the transgender area. After going through depth research, reading blogs, and watching YouTube videos, she was given a name for her distress: gender dysphoria. She was not aware of the terms “transgender”, “gender transition”, etc. before she started her research. Shortly after she educated herself on different topics, she realized she was a trans man who needed to transition instead of a woman who wanted to be a man. In the middle of transitioning, Sinead struggled deeply with her mental health. She attempted suicide and shut herself off from the outside world. There was a development of hate in her for anyone or anything she came into contact with. Fast forward another year later, she decided to tell her sister, Andrea, she was a trans man in the midst of a transition. Andrea was supportive and began to call her Sean along with her children. The support was a mask of her sadness to feeling as if she lost her sister. == Sinead Watson == == Psychologic Effects == == Photos == == References == <references/> 8b2c925e6581c86ce863a3b733a53fc5128f811b 741 740 2022-11-14T16:53:36Z Sofun 15 /* Sinead's Transition */ wikitext text/x-wiki Transition to Detransition:Twin Sisters == "Childhood" Relationship == Andrea and Sinead Watson’s lives started out as “normal” as their life could get. Then the older sister, Andrea, was born in 1986 and was the only child until Sinead came along five years later. Sinead does not believe that childhood exists, but what others would deem as childhood she says was far from perfect for her. Even though they were not closer when they were younger, Andrea still took on her role as a big sister. Andrea protected her from bullies and comforted her when their parents were arguing. However, once Andrea hit her teenage years, she was kicked out of their house. Sinead did not keep in contact with her at all over the years. It was not until Andrea had her first child. Her child allowed them to grow closer than they had ever been. They began to be each other’s true support systems through everything except it did not last long. Their relationship became extremely tested when Sinead decided she wanted to identify as a trans man. Sinead did not make this decision lightly and wanted to transition as quickly as possible which Andrea did not agree with. == Sinead's Transition == Before she had these thoughts of wanting to transition, she already struggled with social situations. Almost every environment she immersed herself in made her feel anxious. This led her to not want to tell anyone around about how she was feeling or what she was thinking. Sinead was against the idea of putting her own burdens onto others. Eventually, she realized that holding in all of her “troubles” was only making things worse. She truly resented being a woman about a year down the road. Instead of talking to other individuals, she turned to the Internet, specifically Google. Sinead would search phrases like, “[https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj I hate being a woman and wish I was a man].” Her findings we dominantly in the transgender area. After going through depth research, reading blogs, and watching YouTube videos, she was given a name for her distress: gender dysphoria. She was not aware of the terms “transgender”, “gender transition”, etc. before she started her research. Shortly after she educated herself on different topics, she realized she was a trans man who needed to transition instead of a woman who wanted to be a man. In the middle of transitioning, Sinead struggled deeply with her mental health. She attempted suicide and shut herself off from the outside world. There was a development of hate in her for anyone or anything she came into contact with. Fast forward another year later, she decided to tell her sister, Andrea, she was a trans man in the midst of a transition. Andrea was supportive and began to call her Sean along with her children. The support was a mask of her sadness to feeling as if she lost her sister. == Sinead Watson == == Psychologic Effects == == Photos == == References == <references/> ae623a179c08a68e7fcde1c19ed44367b6862483 742 741 2022-11-14T17:11:47Z Sofun 15 wikitext text/x-wiki Transition to Detransition:Twin Sisters == "Childhood" Relationship == Andrea and Sinead Watson’s lives started out as “normal” as their life could get. Then the older sister, Andrea, was born in 1986 and was the only child until Sinead came along five years later. Sinead does not believe that childhood exists, but what others would deem as childhood she says was far from perfect for her. Even though they were not closer when they were younger, Andrea still took on her role as a big sister. Andrea protected her from bullies and comforted her when their parents were arguing. However, once Andrea hit her teenage years, she was kicked out of their house. Sinead did not keep in contact with her at all over the years. It was not until Andrea had her first child. Her child allowed them to grow closer than they had ever been. They began to be each other’s true support systems through everything except it did not last long. Their relationship became extremely tested when Sinead decided she wanted to identify as a trans man. Sinead did not make this decision lightly and wanted to transition as quickly as possible which Andrea did not agree with. == Sinead's Transition == Before she had these thoughts of wanting to transition, she already struggled with social situations. Almost every environment she immersed herself in made her feel anxious. This led her to not want to tell anyone around about how she was feeling or what she was thinking. Sinead was against the idea of putting her own burdens onto others. Eventually, she realized that holding in all of her “troubles” was only making things worse. She truly resented being a woman about a year down the road. Instead of talking to other individuals, she turned to the Internet, specifically Google. Sinead would search phrases like, “[https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj I hate being a woman and wish I was a man].” Her findings we dominantly in the transgender area. After going through depth research, reading blogs, and watching YouTube videos, she was given a name for her distress: [https://www.nhs.uk/conditions/gender-dysphoria/ gender dysphoria]. She was not aware of the terms “transgender”, “gender transition”, etc. before she started her research. Shortly after she educated herself on different topics, she realized she was a trans man who needed to transition instead of a woman who wanted to be a man. In the middle of transitioning, Sinead struggled deeply with her mental health. She attempted suicide and shut herself off from the outside world. There was a development of hate in her for anyone or anything she came into contact with. Fast forward another year later, she decided to tell her sister, Andrea, she was a trans man in the midst of a transition. Andrea was supportive and began to call her Sean along with her children. The support was a mask of her sadness to feeling as if she lost her sister. == Sinead Watson == == Psychologic Effects == == Photos == == References == <references/> 654ef59752e4f893003a14618b217114c6bb487d 743 742 2022-11-14T17:12:41Z Sofun 15 /* References */ wikitext text/x-wiki Transition to Detransition:Twin Sisters == "Childhood" Relationship == Andrea and Sinead Watson’s lives started out as “normal” as their life could get. Then the older sister, Andrea, was born in 1986 and was the only child until Sinead came along five years later. Sinead does not believe that childhood exists, but what others would deem as childhood she says was far from perfect for her. Even though they were not closer when they were younger, Andrea still took on her role as a big sister. Andrea protected her from bullies and comforted her when their parents were arguing. However, once Andrea hit her teenage years, she was kicked out of their house. Sinead did not keep in contact with her at all over the years. It was not until Andrea had her first child. Her child allowed them to grow closer than they had ever been. They began to be each other’s true support systems through everything except it did not last long. Their relationship became extremely tested when Sinead decided she wanted to identify as a trans man. Sinead did not make this decision lightly and wanted to transition as quickly as possible which Andrea did not agree with. == Sinead's Transition == Before she had these thoughts of wanting to transition, she already struggled with social situations. Almost every environment she immersed herself in made her feel anxious. This led her to not want to tell anyone around about how she was feeling or what she was thinking. Sinead was against the idea of putting her own burdens onto others. Eventually, she realized that holding in all of her “troubles” was only making things worse. She truly resented being a woman about a year down the road. Instead of talking to other individuals, she turned to the Internet, specifically Google. Sinead would search phrases like, “[https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj I hate being a woman and wish I was a man].” Her findings we dominantly in the transgender area. After going through depth research, reading blogs, and watching YouTube videos, she was given a name for her distress: [https://www.nhs.uk/conditions/gender-dysphoria/ gender dysphoria]. She was not aware of the terms “transgender”, “gender transition”, etc. before she started her research. Shortly after she educated herself on different topics, she realized she was a trans man who needed to transition instead of a woman who wanted to be a man. In the middle of transitioning, Sinead struggled deeply with her mental health. She attempted suicide and shut herself off from the outside world. There was a development of hate in her for anyone or anything she came into contact with. Fast forward another year later, she decided to tell her sister, Andrea, she was a trans man in the midst of a transition. Andrea was supportive and began to call her Sean along with her children. The support was a mask of her sadness to feeling as if she lost her sister. == Sinead Watson == == Psychologic Effects == == Photos == == References == <references/> #1 https://www.nhs.uk/conditions/gender-dysphoria/#:~:text=Gender%20dysphoria%20is%20a%20term,harmful%20impact%20on%20daily%20life #2 https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj9ja77AhUpm2oFHbABDfgQ4dUDCAo&uact=5&oq=I+hate+being+a+woman+and+wish+I+was+a+man&gs_lcp=Cgdnd3Mtd2l6EAMyBQghEKsCMgUIIRCrAlAAWABghgVoAHAAeACAAWCIAWCSAQExmAEAoAECoAEB&sclient=gws-wiz b7ade4a447065588b3b13543890968770779f9ae 744 743 2022-11-14T17:13:30Z Sofun 15 wikitext text/x-wiki Transition to Detransition:Twin Sisters == "Childhood" Relationship == Andrea and Sinead Watson’s lives started out as “normal” as their life could get. Then the older sister, Andrea, was born in 1986 and was the only child until Sinead came along five years later. Sinead does not believe that childhood exists, but what others would deem as childhood she says was far from perfect for her. Even though they were not closer when they were younger, Andrea still took on her role as a big sister. Andrea protected her from bullies and comforted her when their parents were arguing. However, once Andrea hit her teenage years, she was kicked out of their house. Sinead did not keep in contact with her at all over the years. It was not until Andrea had her first child. Her child allowed them to grow closer than they had ever been. They began to be each other’s true support systems through everything except it did not last long. Their relationship became extremely tested when Sinead decided she wanted to identify as a trans man. Sinead did not make this decision lightly and wanted to transition as quickly as possible which Andrea did not agree with. == Sinead's Transition == Before she had these thoughts of wanting to transition, she already struggled with social situations. Almost every environment she immersed herself in made her feel anxious. This led her to not want to tell anyone around about how she was feeling or what she was thinking. Sinead was against the idea of putting her own burdens onto others. Eventually, she realized that holding in all of her “troubles” was only making things worse. She truly resented being a woman about a year down the road. Instead of talking to other individuals, she turned to the Internet, specifically Google. Sinead would search phrases like, “[https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj I hate being a woman and wish I was a man].” Her findings we dominantly in the transgender area. After going through depth research, reading blogs, and watching YouTube videos, she was given a name for her distress: [https://www.nhs.uk/conditions/gender-dysphoria/ gender dysphoria]. She was not aware of the terms “transgender”, “gender transition”, etc. before she started her research. Shortly after she educated herself on different topics, she realized she was a trans man who needed to transition instead of a woman who wanted to be a man. In the middle of transitioning, Sinead struggled deeply with her mental health. She attempted suicide and shut herself off from the outside world. There was a development of hate in her for anyone or anything she came into contact with. Fast forward another year later, she decided to tell her sister, Andrea, she was a trans man in the midst of a transition. Andrea was supportive and began to call her Sean along with her children. The support was a mask of her sadness to feeling as if she lost her sister. == Sinead Watson == == Psychologic Effects == == Photos == == References == <references/> # https://www.nhs.uk/conditions/gender-dysphoria/#:~:text=Gender%20dysphoria%20is%20a%20term,harmful%20impact%20on%20daily%20life # https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj9ja77AhUpm2oFHbABDfgQ4dUDCAo&uact=5&oq=I+hate+being+a+woman+and+wish+I+was+a+man&gs_lcp=Cgdnd3Mtd2l6EAMyBQghEKsCMgUIIRCrAlAAWABghgVoAHAAeACAAWCIAWCSAQExmAEAoAECoAEB&sclient=gws-wiz 924d0a6940fc693ad60d1447625ec302fbfef6d1 745 744 2022-11-14T17:45:47Z Sofun 15 wikitext text/x-wiki Transition to Detransition:Twin Sisters == "Childhood" Relationship == Andrea and Sinead Watson’s lives started out as “normal” as their life could get. Then the older sister, Andrea, was born in 1986 and was the only child until Sinead came along five years later. Sinead does not believe that childhood exists, but what others would deem as childhood she says was far from perfect for her. Even though they were not closer when they were younger, Andrea still took on her role as a big sister. Andrea protected her from bullies and comforted her when their parents were arguing. However, once Andrea hit her teenage years, she was kicked out of their house. Sinead did not keep in contact with her at all over the years. It was not until Andrea had her first child. Her child allowed them to grow closer than they had ever been. They began to be each other’s true support systems through everything except it did not last long. Their relationship became extremely tested when Sinead decided she wanted to identify as a trans man. Sinead did not make this decision lightly and wanted to transition as quickly as possible which Andrea did not agree with. == Sinead's Transition == Before she had these thoughts of wanting to transition, she already struggled with social situations. Almost every environment she immersed herself in made her feel anxious. This led her to not want to tell anyone around about how she was feeling or what she was thinking. Sinead was against the idea of putting her own burdens onto others. Eventually, she realized that holding in all of her “troubles” was only making things worse. She truly resented being a woman about a year down the road. Instead of talking to other individuals, she turned to the Internet, specifically Google. Sinead would search phrases like, “[https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj I hate being a woman and wish I was a man].” Her findings we dominantly in the transgender area. After going through depth research, reading blogs, and watching YouTube videos, she was given a name for her distress: [https://www.nhs.uk/conditions/gender-dysphoria/ gender dysphoria]. She was not aware of the terms “transgender”, “gender transition”, etc. before she started her research. Shortly after she educated herself on different topics, she realized she was a trans man who needed to transition instead of a woman who wanted to be a man. In the middle of transitioning, Sinead struggled deeply with her mental health. She attempted suicide and shut herself off from the outside world. There was a development of hate in her for anyone or anything she came into contact with. Fast forward another year later, she decided to tell her sister, Andrea, she was a trans man in the midst of a transition. Andrea was supportive and began to call her Sean along with her children. The support was a mask of her sadness to feeling as if she lost her sister. == Sinead to Sean's Journey == == Psychologic Effects == == Resources for Mental Health with Transitioning == == References == <references/> # https://www.nhs.uk/conditions/gender-dysphoria/#:~:text=Gender%20dysphoria%20is%20a%20term,harmful%20impact%20on%20daily%20life # https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj9ja77AhUpm2oFHbABDfgQ4dUDCAo&uact=5&oq=I+hate+being+a+woman+and+wish+I+was+a+man&gs_lcp=Cgdnd3Mtd2l6EAMyBQghEKsCMgUIIRCrAlAAWABghgVoAHAAeACAAWCIAWCSAQExmAEAoAECoAEB&sclient=gws-wiz ca7ec925bf27176e4c6d039f61076e6f7e5b874b 746 745 2022-11-14T17:53:20Z Sofun 15 /* Sinead to Sean's Journey */ wikitext text/x-wiki Transition to Detransition:Twin Sisters == "Childhood" Relationship == Andrea and Sinead Watson’s lives started out as “normal” as their life could get. Then the older sister, Andrea, was born in 1986 and was the only child until Sinead came along five years later. Sinead does not believe that childhood exists, but what others would deem as childhood she says was far from perfect for her. Even though they were not closer when they were younger, Andrea still took on her role as a big sister. Andrea protected her from bullies and comforted her when their parents were arguing. However, once Andrea hit her teenage years, she was kicked out of their house. Sinead did not keep in contact with her at all over the years. It was not until Andrea had her first child. Her child allowed them to grow closer than they had ever been. They began to be each other’s true support systems through everything except it did not last long. Their relationship became extremely tested when Sinead decided she wanted to identify as a trans man. Sinead did not make this decision lightly and wanted to transition as quickly as possible which Andrea did not agree with. == Sinead's Transition == Before she had these thoughts of wanting to transition, she already struggled with social situations. Almost every environment she immersed herself in made her feel anxious. This led her to not want to tell anyone around about how she was feeling or what she was thinking. Sinead was against the idea of putting her own burdens onto others. Eventually, she realized that holding in all of her “troubles” was only making things worse. She truly resented being a woman about a year down the road. Instead of talking to other individuals, she turned to the Internet, specifically Google. Sinead would search phrases like, “[https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj I hate being a woman and wish I was a man].” Her findings we dominantly in the transgender area. After going through depth research, reading blogs, and watching YouTube videos, she was given a name for her distress: [https://www.nhs.uk/conditions/gender-dysphoria/ gender dysphoria]. She was not aware of the terms “transgender”, “gender transition”, etc. before she started her research. Shortly after she educated herself on different topics, she realized she was a trans man who needed to transition instead of a woman who wanted to be a man. In the middle of transitioning, Sinead struggled deeply with her mental health. She attempted suicide and shut herself off from the outside world. There was a development of hate in her for anyone or anything she came into contact with. Fast forward another year later, she decided to tell her sister, Andrea, she was a trans man in the midst of a transition. Andrea was supportive and began to call her Sean along with her children. The support was a mask of her sadness to feeling as if she lost her sister. == Sinead to Sean's Journey == Sinead would label herself as a planner so that is what she did for her transition. She went as extensive to list dates and projects of when she wanted each procedure done. Before determining which procedures, she made a list of “pros” and “cons”. Sinead believed at this time, with her precise attention to detail, that this became an obsession for her. She would even consider it to be her sole purpose of life at one point. Instead of turning to the people around her, she went straight to Glasgow’s gender clinic and put herself on over a year-long waiting list. She did not receive any counseling or support during her wait; she even hid from her family. Her wait was so impactful that it led her to sign herself into a psychiatric ward. The psychiatric ward did not help instead only added to the decline of her mental health. A psychiatrist addressed her by saying, “So, you got a bit pushed?” Her interaction with that one person caused her to sign herself out of the psychiatric ward. At this point in her life, she was so far away from her family that a social worker helped her find a homeless accommodation until her treatment. Once she finally got into the gender clinic, Sinead felt comforted. The staff never once questioned her decision, challenged her self-diagnosis, or was unfriendly. Her doctor asked his mandatory questions and wrote down her answers but never once asked why or asked her to expand on her reasoning. Even though she liked not being questioned now, she now felt like the doctor was only checking his boxes but not trying to actually figure out what was going on in her brain. At the end of the consultation, the doctor told her he would pass on her case who would determine for her if she should have access to testosterone or not. She was approved and began treatment. The treatments occurred every three weeks. Then, the gender clinic referred her to another clinic where he could have her mastectomy performed at the age of twenty-six. He felt like his life was on the right track. He was full of energy and ambition; he even completed her first 10K ever. The transition was now successful. He was identified as a man, medically and legally, that was rarely misgendered. Unfortunately, his happiness didn't last forever. Sean became more depressed than he had ever been. He believed the impact of his transition was more mentally than physically. Without the help from counseling or conversing with anyone, Sean thought the only resolution now to his problems not going away would be to detransition. He stopped getting his testosterone treatments. Sean did everything he could to turn back into Sinead. == Psychologic Effects == == Resources for Mental Health with Transitioning == == References == <references/> # https://www.nhs.uk/conditions/gender-dysphoria/#:~:text=Gender%20dysphoria%20is%20a%20term,harmful%20impact%20on%20daily%20life # https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj9ja77AhUpm2oFHbABDfgQ4dUDCAo&uact=5&oq=I+hate+being+a+woman+and+wish+I+was+a+man&gs_lcp=Cgdnd3Mtd2l6EAMyBQghEKsCMgUIIRCrAlAAWABghgVoAHAAeACAAWCIAWCSAQExmAEAoAECoAEB&sclient=gws-wiz eae1d942c2f821ffdcbab01da6f6acf182de7261 747 746 2022-11-14T17:56:26Z Sofun 15 /* Sinead to Sean's Journey */ wikitext text/x-wiki Transition to Detransition:Twin Sisters == "Childhood" Relationship == Andrea and Sinead Watson’s lives started out as “normal” as their life could get. Then the older sister, Andrea, was born in 1986 and was the only child until Sinead came along five years later. Sinead does not believe that childhood exists, but what others would deem as childhood she says was far from perfect for her. Even though they were not closer when they were younger, Andrea still took on her role as a big sister. Andrea protected her from bullies and comforted her when their parents were arguing. However, once Andrea hit her teenage years, she was kicked out of their house. Sinead did not keep in contact with her at all over the years. It was not until Andrea had her first child. Her child allowed them to grow closer than they had ever been. They began to be each other’s true support systems through everything except it did not last long. Their relationship became extremely tested when Sinead decided she wanted to identify as a trans man. Sinead did not make this decision lightly and wanted to transition as quickly as possible which Andrea did not agree with. == Sinead's Transition == Before she had these thoughts of wanting to transition, she already struggled with social situations. Almost every environment she immersed herself in made her feel anxious. This led her to not want to tell anyone around about how she was feeling or what she was thinking. Sinead was against the idea of putting her own burdens onto others. Eventually, she realized that holding in all of her “troubles” was only making things worse. She truly resented being a woman about a year down the road. Instead of talking to other individuals, she turned to the Internet, specifically Google. Sinead would search phrases like, “[https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj I hate being a woman and wish I was a man].” Her findings we dominantly in the transgender area. After going through depth research, reading blogs, and watching YouTube videos, she was given a name for her distress: [https://www.nhs.uk/conditions/gender-dysphoria/ gender dysphoria]. She was not aware of the terms “transgender”, “gender transition”, etc. before she started her research. Shortly after she educated herself on different topics, she realized she was a trans man who needed to transition instead of a woman who wanted to be a man. In the middle of transitioning, Sinead struggled deeply with her mental health. She attempted suicide and shut herself off from the outside world. There was a development of hate in her for anyone or anything she came into contact with. Fast forward another year later, she decided to tell her sister, Andrea, she was a trans man in the midst of a transition. Andrea was supportive and began to call her Sean along with her children. The support was a mask of her sadness to feeling as if she lost her sister. == Sinead to Sean's Journey == Sinead would label herself as a planner so that is what she did for her transition. She went as extensive to list dates and projects of when she wanted each procedure done. Before determining which procedures, she made a list of “pros” and “cons”. Sinead believed at this time, with her precise attention to detail, that this became an obsession for her. She would even consider it to be her sole purpose of life at one point. Instead of turning to the people around her, she went straight to G[https://www.sandyford.scot/sexual-health-services/gender-identity-service/ lasgow’s gender clinic] and put herself on over a year-long waiting list. She did not receive any counseling or support during her wait; she even hid from her family. Her wait was so impactful that it led her to sign herself into a psychiatric ward. The psychiatric ward did not help instead only added to the decline of her mental health. A psychiatrist addressed her by saying, “So, you got a bit pushed?” Her interaction with that one person caused her to sign herself out of the psychiatric ward. At this point in her life, she was so far away from her family that a social worker helped her find a homeless accommodation until her treatment. Once she finally got into the gender clinic, Sinead felt comforted. The staff never once questioned her decision, challenged her self-diagnosis, or was unfriendly. Her doctor asked his mandatory questions and wrote down her answers but never once asked why or asked her to expand on her reasoning. Even though she liked not being questioned now, she now felt like the doctor was only checking his boxes but not trying to actually figure out what was going on in her brain. At the end of the consultation, the doctor told her he would pass on her case who would determine for her if she should have access to testosterone or not. She was approved and began treatment. The treatments occurred every three weeks. Then, the gender clinic referred her to another clinic where he could have her mastectomy performed at the age of twenty-six. He felt like his life was on the right track. He was full of energy and ambition; he even completed her first 10K ever. The transition was now successful. He was identified as a man, medically and legally, that was rarely misgendered. Unfortunately, his happiness didn't last forever. Sean became more depressed than he had ever been. He believed the impact of his transition was more mentally than physically. Without the help from counseling or conversing with anyone, Sean thought the only resolution now to his problems not going away would be to detransition. He stopped getting his testosterone treatments. Sean did everything he could to turn back into Sinead. == Psychologic Effects == == Resources for Mental Health with Transitioning == == References == <references/> # https://www.nhs.uk/conditions/gender-dysphoria/#:~:text=Gender%20dysphoria%20is%20a%20term,harmful%20impact%20on%20daily%20life # https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj9ja77AhUpm2oFHbABDfgQ4dUDCAo&uact=5&oq=I+hate+being+a+woman+and+wish+I+was+a+man&gs_lcp=Cgdnd3Mtd2l6EAMyBQghEKsCMgUIIRCrAlAAWABghgVoAHAAeACAAWCIAWCSAQExmAEAoAECoAEB&sclient=gws-wiz b6f252a6a3772b6c7e8dc7f9310649c121052e67 748 747 2022-11-14T17:56:41Z Sofun 15 /* References */ wikitext text/x-wiki Transition to Detransition:Twin Sisters == "Childhood" Relationship == Andrea and Sinead Watson’s lives started out as “normal” as their life could get. Then the older sister, Andrea, was born in 1986 and was the only child until Sinead came along five years later. Sinead does not believe that childhood exists, but what others would deem as childhood she says was far from perfect for her. Even though they were not closer when they were younger, Andrea still took on her role as a big sister. Andrea protected her from bullies and comforted her when their parents were arguing. However, once Andrea hit her teenage years, she was kicked out of their house. Sinead did not keep in contact with her at all over the years. It was not until Andrea had her first child. Her child allowed them to grow closer than they had ever been. They began to be each other’s true support systems through everything except it did not last long. Their relationship became extremely tested when Sinead decided she wanted to identify as a trans man. Sinead did not make this decision lightly and wanted to transition as quickly as possible which Andrea did not agree with. == Sinead's Transition == Before she had these thoughts of wanting to transition, she already struggled with social situations. Almost every environment she immersed herself in made her feel anxious. This led her to not want to tell anyone around about how she was feeling or what she was thinking. Sinead was against the idea of putting her own burdens onto others. Eventually, she realized that holding in all of her “troubles” was only making things worse. She truly resented being a woman about a year down the road. Instead of talking to other individuals, she turned to the Internet, specifically Google. Sinead would search phrases like, “[https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj I hate being a woman and wish I was a man].” Her findings we dominantly in the transgender area. After going through depth research, reading blogs, and watching YouTube videos, she was given a name for her distress: [https://www.nhs.uk/conditions/gender-dysphoria/ gender dysphoria]. She was not aware of the terms “transgender”, “gender transition”, etc. before she started her research. Shortly after she educated herself on different topics, she realized she was a trans man who needed to transition instead of a woman who wanted to be a man. In the middle of transitioning, Sinead struggled deeply with her mental health. She attempted suicide and shut herself off from the outside world. There was a development of hate in her for anyone or anything she came into contact with. Fast forward another year later, she decided to tell her sister, Andrea, she was a trans man in the midst of a transition. Andrea was supportive and began to call her Sean along with her children. The support was a mask of her sadness to feeling as if she lost her sister. == Sinead to Sean's Journey == Sinead would label herself as a planner so that is what she did for her transition. She went as extensive to list dates and projects of when she wanted each procedure done. Before determining which procedures, she made a list of “pros” and “cons”. Sinead believed at this time, with her precise attention to detail, that this became an obsession for her. She would even consider it to be her sole purpose of life at one point. Instead of turning to the people around her, she went straight to G[https://www.sandyford.scot/sexual-health-services/gender-identity-service/ lasgow’s gender clinic] and put herself on over a year-long waiting list. She did not receive any counseling or support during her wait; she even hid from her family. Her wait was so impactful that it led her to sign herself into a psychiatric ward. The psychiatric ward did not help instead only added to the decline of her mental health. A psychiatrist addressed her by saying, “So, you got a bit pushed?” Her interaction with that one person caused her to sign herself out of the psychiatric ward. At this point in her life, she was so far away from her family that a social worker helped her find a homeless accommodation until her treatment. Once she finally got into the gender clinic, Sinead felt comforted. The staff never once questioned her decision, challenged her self-diagnosis, or was unfriendly. Her doctor asked his mandatory questions and wrote down her answers but never once asked why or asked her to expand on her reasoning. Even though she liked not being questioned now, she now felt like the doctor was only checking his boxes but not trying to actually figure out what was going on in her brain. At the end of the consultation, the doctor told her he would pass on her case who would determine for her if she should have access to testosterone or not. She was approved and began treatment. The treatments occurred every three weeks. Then, the gender clinic referred her to another clinic where he could have her mastectomy performed at the age of twenty-six. He felt like his life was on the right track. He was full of energy and ambition; he even completed her first 10K ever. The transition was now successful. He was identified as a man, medically and legally, that was rarely misgendered. Unfortunately, his happiness didn't last forever. Sean became more depressed than he had ever been. He believed the impact of his transition was more mentally than physically. Without the help from counseling or conversing with anyone, Sean thought the only resolution now to his problems not going away would be to detransition. He stopped getting his testosterone treatments. Sean did everything he could to turn back into Sinead. == Psychologic Effects == == Resources for Mental Health with Transitioning == == References == <references/> # https://www.nhs.uk/conditions/gender-dysphoria/#:~:text=Gender%20dysphoria%20is%20a%20term,harmful%20impact%20on%20daily%20life # https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj9ja77AhUpm2oFHbABDfgQ4dUDCAo&uact=5&oq=I+hate+being+a+woman+and+wish+I+was+a+man&gs_lcp=Cgdnd3Mtd2l6EAMyBQghEKsCMgUIIRCrAlAAWABghgVoAHAAeACAAWCIAWCSAQExmAEAoAECoAEB&sclient=gws-wiz # https://www.sandyford.scot/sexual-health-services/gender-identity-service/ 4907610692d105a6c60794b18635da1d6b544ad9 749 748 2022-11-14T18:18:30Z Sofun 15 /* Psychologic Effects */ wikitext text/x-wiki Transition to Detransition:Twin Sisters == "Childhood" Relationship == Andrea and Sinead Watson’s lives started out as “normal” as their life could get. Then the older sister, Andrea, was born in 1986 and was the only child until Sinead came along five years later. Sinead does not believe that childhood exists, but what others would deem as childhood she says was far from perfect for her. Even though they were not closer when they were younger, Andrea still took on her role as a big sister. Andrea protected her from bullies and comforted her when their parents were arguing. However, once Andrea hit her teenage years, she was kicked out of their house. Sinead did not keep in contact with her at all over the years. It was not until Andrea had her first child. Her child allowed them to grow closer than they had ever been. They began to be each other’s true support systems through everything except it did not last long. Their relationship became extremely tested when Sinead decided she wanted to identify as a trans man. Sinead did not make this decision lightly and wanted to transition as quickly as possible which Andrea did not agree with. == Sinead's Transition == Before she had these thoughts of wanting to transition, she already struggled with social situations. Almost every environment she immersed herself in made her feel anxious. This led her to not want to tell anyone around about how she was feeling or what she was thinking. Sinead was against the idea of putting her own burdens onto others. Eventually, she realized that holding in all of her “troubles” was only making things worse. She truly resented being a woman about a year down the road. Instead of talking to other individuals, she turned to the Internet, specifically Google. Sinead would search phrases like, “[https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj I hate being a woman and wish I was a man].” Her findings we dominantly in the transgender area. After going through depth research, reading blogs, and watching YouTube videos, she was given a name for her distress: [https://www.nhs.uk/conditions/gender-dysphoria/ gender dysphoria]. She was not aware of the terms “transgender”, “gender transition”, etc. before she started her research. Shortly after she educated herself on different topics, she realized she was a trans man who needed to transition instead of a woman who wanted to be a man. In the middle of transitioning, Sinead struggled deeply with her mental health. She attempted suicide and shut herself off from the outside world. There was a development of hate in her for anyone or anything she came into contact with. Fast forward another year later, she decided to tell her sister, Andrea, she was a trans man in the midst of a transition. Andrea was supportive and began to call her Sean along with her children. The support was a mask of her sadness to feeling as if she lost her sister. == Sinead to Sean's Journey == Sinead would label herself as a planner so that is what she did for her transition. She went as extensive to list dates and projects of when she wanted each procedure done. Before determining which procedures, she made a list of “pros” and “cons”. Sinead believed at this time, with her precise attention to detail, that this became an obsession for her. She would even consider it to be her sole purpose of life at one point. Instead of turning to the people around her, she went straight to G[https://www.sandyford.scot/sexual-health-services/gender-identity-service/ lasgow’s gender clinic] and put herself on over a year-long waiting list. She did not receive any counseling or support during her wait; she even hid from her family. Her wait was so impactful that it led her to sign herself into a psychiatric ward. The psychiatric ward did not help instead only added to the decline of her mental health. A psychiatrist addressed her by saying, “So, you got a bit pushed?” Her interaction with that one person caused her to sign herself out of the psychiatric ward. At this point in her life, she was so far away from her family that a social worker helped her find a homeless accommodation until her treatment. Once she finally got into the gender clinic, Sinead felt comforted. The staff never once questioned her decision, challenged her self-diagnosis, or was unfriendly. Her doctor asked his mandatory questions and wrote down her answers but never once asked why or asked her to expand on her reasoning. Even though she liked not being questioned now, she now felt like the doctor was only checking his boxes but not trying to actually figure out what was going on in her brain. At the end of the consultation, the doctor told her he would pass on her case who would determine for her if she should have access to testosterone or not. She was approved and began treatment. The treatments occurred every three weeks. Then, the gender clinic referred her to another clinic where he could have her mastectomy performed at the age of twenty-six. He felt like his life was on the right track. He was full of energy and ambition; he even completed her first 10K ever. The transition was now successful. He was identified as a man, medically and legally, that was rarely misgendered. Unfortunately, his happiness didn't last forever. Sean became more depressed than he had ever been. He believed the impact of his transition was more mentally than physically. Without the help from counseling or conversing with anyone, Sean thought the only resolution now to his problems not going away would be to detransition. He stopped getting his testosterone treatments. Sean did everything he could to turn back into Sinead. == Mental Health == The true feelings of everyone’s mental health did not come to surface until Sean announced his detransitioning back to Sinead. Andrea said, “We all grieved for the loss of Sinead because any resemblance of her was gone…” They did not know how to deal with the loss so much that they would describe the transition to be equivalent to Sinead dying. Sinead was not just a new person with a new name and different appearance. Sean had a new personality. They do not know how to approach him without feeling like they might offend him. His family wanted to ask questions but were they too personal? After some time, his family sook treatment as well as Sean. His sister and Sean’s therapist, who were in different states, both told them that it was something they were not comfortable talking about. Sean’s therapist recommended that she return to the gender clinic she went to for treatment but other than that she had no advice to give him. When Sean returned to the gender clinic, the resources they gave him were not successful. He needed more than a safe place to talk about his journey. Sean and his family turned to social media support groups. However, the support groups ended with them being bashed with name calling and threats because of the way they wrote out their feelings/concerns. == Resources for Mental Health with Transitioning == == References == <references/> # https://www.nhs.uk/conditions/gender-dysphoria/#:~:text=Gender%20dysphoria%20is%20a%20term,harmful%20impact%20on%20daily%20life # https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj9ja77AhUpm2oFHbABDfgQ4dUDCAo&uact=5&oq=I+hate+being+a+woman+and+wish+I+was+a+man&gs_lcp=Cgdnd3Mtd2l6EAMyBQghEKsCMgUIIRCrAlAAWABghgVoAHAAeACAAWCIAWCSAQExmAEAoAECoAEB&sclient=gws-wiz # https://www.sandyford.scot/sexual-health-services/gender-identity-service/ be0d8658e93253b74133d87aecd51d086fd0e2e6 750 749 2022-11-14T18:33:15Z Sofun 15 /* Resources for Mental Health with Transitioning */ wikitext text/x-wiki Transition to Detransition:Twin Sisters == "Childhood" Relationship == Andrea and Sinead Watson’s lives started out as “normal” as their life could get. Then the older sister, Andrea, was born in 1986 and was the only child until Sinead came along five years later. Sinead does not believe that childhood exists, but what others would deem as childhood she says was far from perfect for her. Even though they were not closer when they were younger, Andrea still took on her role as a big sister. Andrea protected her from bullies and comforted her when their parents were arguing. However, once Andrea hit her teenage years, she was kicked out of their house. Sinead did not keep in contact with her at all over the years. It was not until Andrea had her first child. Her child allowed them to grow closer than they had ever been. They began to be each other’s true support systems through everything except it did not last long. Their relationship became extremely tested when Sinead decided she wanted to identify as a trans man. Sinead did not make this decision lightly and wanted to transition as quickly as possible which Andrea did not agree with. == Sinead's Transition == Before she had these thoughts of wanting to transition, she already struggled with social situations. Almost every environment she immersed herself in made her feel anxious. This led her to not want to tell anyone around about how she was feeling or what she was thinking. Sinead was against the idea of putting her own burdens onto others. Eventually, she realized that holding in all of her “troubles” was only making things worse. She truly resented being a woman about a year down the road. Instead of talking to other individuals, she turned to the Internet, specifically Google. Sinead would search phrases like, “[https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj I hate being a woman and wish I was a man].” Her findings we dominantly in the transgender area. After going through depth research, reading blogs, and watching YouTube videos, she was given a name for her distress: [https://www.nhs.uk/conditions/gender-dysphoria/ gender dysphoria]. She was not aware of the terms “transgender”, “gender transition”, etc. before she started her research. Shortly after she educated herself on different topics, she realized she was a trans man who needed to transition instead of a woman who wanted to be a man. In the middle of transitioning, Sinead struggled deeply with her mental health. She attempted suicide and shut herself off from the outside world. There was a development of hate in her for anyone or anything she came into contact with. Fast forward another year later, she decided to tell her sister, Andrea, she was a trans man in the midst of a transition. Andrea was supportive and began to call her Sean along with her children. The support was a mask of her sadness to feeling as if she lost her sister. == Sinead to Sean's Journey == Sinead would label herself as a planner so that is what she did for her transition. She went as extensive to list dates and projects of when she wanted each procedure done. Before determining which procedures, she made a list of “pros” and “cons”. Sinead believed at this time, with her precise attention to detail, that this became an obsession for her. She would even consider it to be her sole purpose of life at one point. Instead of turning to the people around her, she went straight to G[https://www.sandyford.scot/sexual-health-services/gender-identity-service/ lasgow’s gender clinic] and put herself on over a year-long waiting list. She did not receive any counseling or support during her wait; she even hid from her family. Her wait was so impactful that it led her to sign herself into a psychiatric ward. The psychiatric ward did not help instead only added to the decline of her mental health. A psychiatrist addressed her by saying, “So, you got a bit pushed?” Her interaction with that one person caused her to sign herself out of the psychiatric ward. At this point in her life, she was so far away from her family that a social worker helped her find a homeless accommodation until her treatment. Once she finally got into the gender clinic, Sinead felt comforted. The staff never once questioned her decision, challenged her self-diagnosis, or was unfriendly. Her doctor asked his mandatory questions and wrote down her answers but never once asked why or asked her to expand on her reasoning. Even though she liked not being questioned now, she now felt like the doctor was only checking his boxes but not trying to actually figure out what was going on in her brain. At the end of the consultation, the doctor told her he would pass on her case who would determine for her if she should have access to testosterone or not. She was approved and began treatment. The treatments occurred every three weeks. Then, the gender clinic referred her to another clinic where he could have her mastectomy performed at the age of twenty-six. He felt like his life was on the right track. He was full of energy and ambition; he even completed her first 10K ever. The transition was now successful. He was identified as a man, medically and legally, that was rarely misgendered. Unfortunately, his happiness didn't last forever. Sean became more depressed than he had ever been. He believed the impact of his transition was more mentally than physically. Without the help from counseling or conversing with anyone, Sean thought the only resolution now to his problems not going away would be to detransition. He stopped getting his testosterone treatments. Sean did everything he could to turn back into Sinead. == Mental Health == The true feelings of everyone’s mental health did not come to surface until Sean announced his detransitioning back to Sinead. Andrea said, “We all grieved for the loss of Sinead because any resemblance of her was gone…” They did not know how to deal with the loss so much that they would describe the transition to be equivalent to Sinead dying. Sinead was not just a new person with a new name and different appearance. Sean had a new personality. They do not know how to approach him without feeling like they might offend him. His family wanted to ask questions but were they too personal? After some time, his family sook treatment as well as Sean. His sister and Sean’s therapist, who were in different states, both told them that it was something they were not comfortable talking about. Sean’s therapist recommended that she return to the gender clinic she went to for treatment but other than that she had no advice to give him. When Sean returned to the gender clinic, the resources they gave him were not successful. He needed more than a safe place to talk about his journey. Sean and his family turned to social media support groups. However, the support groups ended with them being bashed with name calling and threats because of the way they wrote out their feelings/concerns. == Resources for Mental Health with Transitioning == # [https://www.thetrevorproject.org/ The Trevor Project] Mission: You deserve a welcoming, loving world. The Trevor Project is a center that welcomes transgender individuals as well as their families. Their services are available 24/7 with a call and chat number. The main specialties are sexual orientation, suicide, mental health, gender identity, and community. On their website, it even offers a place where you can meet friends. # [https://translifeline.org/i-called-but-didnt-get-through-what-should-i-do/ Trans Lifeline] Mission: Trans Lifeline connects trans people to the community support and resources we need to survive and thrive. Trans Lifeline is a 24/7 hour hotline. Their is a hotline for trans individuals and another hotline for trans friends and family. They also have a resources subsection. On the research tab, there are different links an individual can click on based on what best identifies with them. If an individual is too scared to call or is on hold that needs immediate attention, they also provide a list of steps the individual can take. # [https://www.glaad.org/transgender/resources Organizations/Programs/Resources] The Glaad Organization has a list designated for transgender individuals. On the website, you can find organizations or programs to join. It also contains stories of other transgender individuals' journeys. == References == <references/> # https://www.nhs.uk/conditions/gender-dysphoria/#:~:text=Gender%20dysphoria%20is%20a%20term,harmful%20impact%20on%20daily%20life # https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj9ja77AhUpm2oFHbABDfgQ4dUDCAo&uact=5&oq=I+hate+being+a+woman+and+wish+I+was+a+man&gs_lcp=Cgdnd3Mtd2l6EAMyBQghEKsCMgUIIRCrAlAAWABghgVoAHAAeACAAWCIAWCSAQExmAEAoAECoAEB&sclient=gws-wiz # https://www.sandyford.scot/sexual-health-services/gender-identity-service/ 362ee442df77fda693f4f43fbce26d47001bfc7e 751 750 2022-11-14T18:34:34Z Sofun 15 /* References */ wikitext text/x-wiki Transition to Detransition:Twin Sisters == "Childhood" Relationship == Andrea and Sinead Watson’s lives started out as “normal” as their life could get. Then the older sister, Andrea, was born in 1986 and was the only child until Sinead came along five years later. Sinead does not believe that childhood exists, but what others would deem as childhood she says was far from perfect for her. Even though they were not closer when they were younger, Andrea still took on her role as a big sister. Andrea protected her from bullies and comforted her when their parents were arguing. However, once Andrea hit her teenage years, she was kicked out of their house. Sinead did not keep in contact with her at all over the years. It was not until Andrea had her first child. Her child allowed them to grow closer than they had ever been. They began to be each other’s true support systems through everything except it did not last long. Their relationship became extremely tested when Sinead decided she wanted to identify as a trans man. Sinead did not make this decision lightly and wanted to transition as quickly as possible which Andrea did not agree with. == Sinead's Transition == Before she had these thoughts of wanting to transition, she already struggled with social situations. Almost every environment she immersed herself in made her feel anxious. This led her to not want to tell anyone around about how she was feeling or what she was thinking. Sinead was against the idea of putting her own burdens onto others. Eventually, she realized that holding in all of her “troubles” was only making things worse. She truly resented being a woman about a year down the road. Instead of talking to other individuals, she turned to the Internet, specifically Google. Sinead would search phrases like, “[https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj I hate being a woman and wish I was a man].” Her findings we dominantly in the transgender area. After going through depth research, reading blogs, and watching YouTube videos, she was given a name for her distress: [https://www.nhs.uk/conditions/gender-dysphoria/ gender dysphoria]. She was not aware of the terms “transgender”, “gender transition”, etc. before she started her research. Shortly after she educated herself on different topics, she realized she was a trans man who needed to transition instead of a woman who wanted to be a man. In the middle of transitioning, Sinead struggled deeply with her mental health. She attempted suicide and shut herself off from the outside world. There was a development of hate in her for anyone or anything she came into contact with. Fast forward another year later, she decided to tell her sister, Andrea, she was a trans man in the midst of a transition. Andrea was supportive and began to call her Sean along with her children. The support was a mask of her sadness to feeling as if she lost her sister. == Sinead to Sean's Journey == Sinead would label herself as a planner so that is what she did for her transition. She went as extensive to list dates and projects of when she wanted each procedure done. Before determining which procedures, she made a list of “pros” and “cons”. Sinead believed at this time, with her precise attention to detail, that this became an obsession for her. She would even consider it to be her sole purpose of life at one point. Instead of turning to the people around her, she went straight to G[https://www.sandyford.scot/sexual-health-services/gender-identity-service/ lasgow’s gender clinic] and put herself on over a year-long waiting list. She did not receive any counseling or support during her wait; she even hid from her family. Her wait was so impactful that it led her to sign herself into a psychiatric ward. The psychiatric ward did not help instead only added to the decline of her mental health. A psychiatrist addressed her by saying, “So, you got a bit pushed?” Her interaction with that one person caused her to sign herself out of the psychiatric ward. At this point in her life, she was so far away from her family that a social worker helped her find a homeless accommodation until her treatment. Once she finally got into the gender clinic, Sinead felt comforted. The staff never once questioned her decision, challenged her self-diagnosis, or was unfriendly. Her doctor asked his mandatory questions and wrote down her answers but never once asked why or asked her to expand on her reasoning. Even though she liked not being questioned now, she now felt like the doctor was only checking his boxes but not trying to actually figure out what was going on in her brain. At the end of the consultation, the doctor told her he would pass on her case who would determine for her if she should have access to testosterone or not. She was approved and began treatment. The treatments occurred every three weeks. Then, the gender clinic referred her to another clinic where he could have her mastectomy performed at the age of twenty-six. He felt like his life was on the right track. He was full of energy and ambition; he even completed her first 10K ever. The transition was now successful. He was identified as a man, medically and legally, that was rarely misgendered. Unfortunately, his happiness didn't last forever. Sean became more depressed than he had ever been. He believed the impact of his transition was more mentally than physically. Without the help from counseling or conversing with anyone, Sean thought the only resolution now to his problems not going away would be to detransition. He stopped getting his testosterone treatments. Sean did everything he could to turn back into Sinead. == Mental Health == The true feelings of everyone’s mental health did not come to surface until Sean announced his detransitioning back to Sinead. Andrea said, “We all grieved for the loss of Sinead because any resemblance of her was gone…” They did not know how to deal with the loss so much that they would describe the transition to be equivalent to Sinead dying. Sinead was not just a new person with a new name and different appearance. Sean had a new personality. They do not know how to approach him without feeling like they might offend him. His family wanted to ask questions but were they too personal? After some time, his family sook treatment as well as Sean. His sister and Sean’s therapist, who were in different states, both told them that it was something they were not comfortable talking about. Sean’s therapist recommended that she return to the gender clinic she went to for treatment but other than that she had no advice to give him. When Sean returned to the gender clinic, the resources they gave him were not successful. He needed more than a safe place to talk about his journey. Sean and his family turned to social media support groups. However, the support groups ended with them being bashed with name calling and threats because of the way they wrote out their feelings/concerns. == Resources for Mental Health with Transitioning == # [https://www.thetrevorproject.org/ The Trevor Project] Mission: You deserve a welcoming, loving world. The Trevor Project is a center that welcomes transgender individuals as well as their families. Their services are available 24/7 with a call and chat number. The main specialties are sexual orientation, suicide, mental health, gender identity, and community. On their website, it even offers a place where you can meet friends. # [https://translifeline.org/i-called-but-didnt-get-through-what-should-i-do/ Trans Lifeline] Mission: Trans Lifeline connects trans people to the community support and resources we need to survive and thrive. Trans Lifeline is a 24/7 hour hotline. Their is a hotline for trans individuals and another hotline for trans friends and family. They also have a resources subsection. On the research tab, there are different links an individual can click on based on what best identifies with them. If an individual is too scared to call or is on hold that needs immediate attention, they also provide a list of steps the individual can take. # [https://www.glaad.org/transgender/resources Organizations/Programs/Resources] The Glaad Organization has a list designated for transgender individuals. On the website, you can find organizations or programs to join. It also contains stories of other transgender individuals' journeys. == References == <references/> # https://www.nhs.uk/conditions/gender-dysphoria/#:~:text=Gender%20dysphoria%20is%20a%20term,harmful%20impact%20on%20daily%20life # https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj9ja77AhUpm2oFHbABDfgQ4dUDCAo&uact=5&oq=I+hate+being+a+woman+and+wish+I+was+a+man&gs_lcp=Cgdnd3Mtd2l6EAMyBQghEKsCMgUIIRCrAlAAWABghgVoAHAAeACAAWCIAWCSAQExmAEAoAECoAEB&sclient=gws-wiz # https://www.sandyford.scot/sexual-health-services/gender-identity-service/ # https://www.thetrevorproject.org/ # https://translifeline.org/i-called-but-didnt-get-through-what-should-i-do/ # https://www.glaad.org/transgender/resources 01f415253f6f8941200bf083710b6dcceeecfa6d 752 751 2022-11-14T18:36:37Z Sofun 15 /* References */ wikitext text/x-wiki Transition to Detransition:Twin Sisters == "Childhood" Relationship == Andrea and Sinead Watson’s lives started out as “normal” as their life could get. Then the older sister, Andrea, was born in 1986 and was the only child until Sinead came along five years later. Sinead does not believe that childhood exists, but what others would deem as childhood she says was far from perfect for her. Even though they were not closer when they were younger, Andrea still took on her role as a big sister. Andrea protected her from bullies and comforted her when their parents were arguing. However, once Andrea hit her teenage years, she was kicked out of their house. Sinead did not keep in contact with her at all over the years. It was not until Andrea had her first child. Her child allowed them to grow closer than they had ever been. They began to be each other’s true support systems through everything except it did not last long. Their relationship became extremely tested when Sinead decided she wanted to identify as a trans man. Sinead did not make this decision lightly and wanted to transition as quickly as possible which Andrea did not agree with. == Sinead's Transition == Before she had these thoughts of wanting to transition, she already struggled with social situations. Almost every environment she immersed herself in made her feel anxious. This led her to not want to tell anyone around about how she was feeling or what she was thinking. Sinead was against the idea of putting her own burdens onto others. Eventually, she realized that holding in all of her “troubles” was only making things worse. She truly resented being a woman about a year down the road. Instead of talking to other individuals, she turned to the Internet, specifically Google. Sinead would search phrases like, “[https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj I hate being a woman and wish I was a man].” Her findings we dominantly in the transgender area. After going through depth research, reading blogs, and watching YouTube videos, she was given a name for her distress: [https://www.nhs.uk/conditions/gender-dysphoria/ gender dysphoria]. She was not aware of the terms “transgender”, “gender transition”, etc. before she started her research. Shortly after she educated herself on different topics, she realized she was a trans man who needed to transition instead of a woman who wanted to be a man. In the middle of transitioning, Sinead struggled deeply with her mental health. She attempted suicide and shut herself off from the outside world. There was a development of hate in her for anyone or anything she came into contact with. Fast forward another year later, she decided to tell her sister, Andrea, she was a trans man in the midst of a transition. Andrea was supportive and began to call her Sean along with her children. The support was a mask of her sadness to feeling as if she lost her sister. == Sinead to Sean's Journey == Sinead would label herself as a planner so that is what she did for her transition. She went as extensive to list dates and projects of when she wanted each procedure done. Before determining which procedures, she made a list of “pros” and “cons”. Sinead believed at this time, with her precise attention to detail, that this became an obsession for her. She would even consider it to be her sole purpose of life at one point. Instead of turning to the people around her, she went straight to G[https://www.sandyford.scot/sexual-health-services/gender-identity-service/ lasgow’s gender clinic] and put herself on over a year-long waiting list. She did not receive any counseling or support during her wait; she even hid from her family. Her wait was so impactful that it led her to sign herself into a psychiatric ward. The psychiatric ward did not help instead only added to the decline of her mental health. A psychiatrist addressed her by saying, “So, you got a bit pushed?” Her interaction with that one person caused her to sign herself out of the psychiatric ward. At this point in her life, she was so far away from her family that a social worker helped her find a homeless accommodation until her treatment. Once she finally got into the gender clinic, Sinead felt comforted. The staff never once questioned her decision, challenged her self-diagnosis, or was unfriendly. Her doctor asked his mandatory questions and wrote down her answers but never once asked why or asked her to expand on her reasoning. Even though she liked not being questioned now, she now felt like the doctor was only checking his boxes but not trying to actually figure out what was going on in her brain. At the end of the consultation, the doctor told her he would pass on her case who would determine for her if she should have access to testosterone or not. She was approved and began treatment. The treatments occurred every three weeks. Then, the gender clinic referred her to another clinic where he could have her mastectomy performed at the age of twenty-six. He felt like his life was on the right track. He was full of energy and ambition; he even completed her first 10K ever. The transition was now successful. He was identified as a man, medically and legally, that was rarely misgendered. Unfortunately, his happiness didn't last forever. Sean became more depressed than he had ever been. He believed the impact of his transition was more mentally than physically. Without the help from counseling or conversing with anyone, Sean thought the only resolution now to his problems not going away would be to detransition. He stopped getting his testosterone treatments. Sean did everything he could to turn back into Sinead. == Mental Health == The true feelings of everyone’s mental health did not come to surface until Sean announced his detransitioning back to Sinead. Andrea said, “We all grieved for the loss of Sinead because any resemblance of her was gone…” They did not know how to deal with the loss so much that they would describe the transition to be equivalent to Sinead dying. Sinead was not just a new person with a new name and different appearance. Sean had a new personality. They do not know how to approach him without feeling like they might offend him. His family wanted to ask questions but were they too personal? After some time, his family sook treatment as well as Sean. His sister and Sean’s therapist, who were in different states, both told them that it was something they were not comfortable talking about. Sean’s therapist recommended that she return to the gender clinic she went to for treatment but other than that she had no advice to give him. When Sean returned to the gender clinic, the resources they gave him were not successful. He needed more than a safe place to talk about his journey. Sean and his family turned to social media support groups. However, the support groups ended with them being bashed with name calling and threats because of the way they wrote out their feelings/concerns. == Resources for Mental Health with Transitioning == # [https://www.thetrevorproject.org/ The Trevor Project] Mission: You deserve a welcoming, loving world. The Trevor Project is a center that welcomes transgender individuals as well as their families. Their services are available 24/7 with a call and chat number. The main specialties are sexual orientation, suicide, mental health, gender identity, and community. On their website, it even offers a place where you can meet friends. # [https://translifeline.org/i-called-but-didnt-get-through-what-should-i-do/ Trans Lifeline] Mission: Trans Lifeline connects trans people to the community support and resources we need to survive and thrive. Trans Lifeline is a 24/7 hour hotline. Their is a hotline for trans individuals and another hotline for trans friends and family. They also have a resources subsection. On the research tab, there are different links an individual can click on based on what best identifies with them. If an individual is too scared to call or is on hold that needs immediate attention, they also provide a list of steps the individual can take. # [https://www.glaad.org/transgender/resources Organizations/Programs/Resources] The Glaad Organization has a list designated for transgender individuals. On the website, you can find organizations or programs to join. It also contains stories of other transgender individuals' journeys. == References == <references/> # https://www.nhs.uk/conditions/gender-dysphoria/#:~:text=Gender%20dysphoria%20is%20a%20term,harmful%20impact%20on%20daily%20life # https://www.google.com/search?surl=1&safe=active&q=I+hate+being+a+woman+and+wish+I+was+a+man&sxsrf=ALiCzsZtiCcWWMJsN65zyB34GAfK_R2EaA%3A1668443928703&source=hp&ei=GG9yY_2dKKm2qtsPsIO0wA8&iflsig=AJiK0e8AAAAAY3J9KO59J_oAlUhi7Se8QAtNxJsfKWCp&ved=0ahUKEwj9icj9ja77AhUpm2oFHbABDfgQ4dUDCAo&uact=5&oq=I+hate+being+a+woman+and+wish+I+was+a+man&gs_lcp=Cgdnd3Mtd2l6EAMyBQghEKsCMgUIIRCrAlAAWABghgVoAHAAeACAAWCIAWCSAQExmAEAoAECoAEB&sclient=gws-wiz # https://www.sandyford.scot/sexual-health-services/gender-identity-service/ # https://www.thetrevorproject.org/ # https://translifeline.org/i-called-but-didnt-get-through-what-should-i-do/ # https://www.glaad.org/transgender/resources # https://qwiki.miraheze.org/wiki/The_Idea_of_Lack_of_Fluidity:_Detransitioning 5b00cf01ceb1d63bca00b9c6ccc9391e584692da 0 69 753 2022-11-14T19:18:13Z 9thSaturn 4 Created page with "''Such a F*cking Poet'' is a short film written and directed by Christina Phillips and produced by TCU's Student Film Association. It is set to debut in the spring of 2023." wikitext text/x-wiki ''Such a F*cking Poet'' is a short film written and directed by Christina Phillips and produced by TCU's Student Film Association. It is set to debut in the spring of 2023. 2a54c56cc48b5bb188ac438cef6cb9031b223d2f 754 753 2022-11-14T19:47:55Z 9thSaturn 4 wikitext text/x-wiki ''Such a F*cking Poet'' is a short film written and directed by Christina Phillips and produced by TCU's Student Film Association. It is set to debut in the spring of 2023. = Artist's Statement = This film is queer in so many ways, to be honest. It's based on the end of a relationship I was in with a man, but I wrote both characters to be women (he needed one redeeming quality, after all), so it's a queering of a 'straight' relationship--although straight is in quotes because I'm not straight, so the relationship wasn't purely straight. I feel like it also queers the rom-com genre because while romance and comedy are both definitely present elements, and I'd even go so far as to say the film is partially about those things, the moral isn't that romance is a pre-requisite for happiness, which is kind of a staple of the traditional rom-com genre. The moral is actually very much that the main character needs to extricate herself from the romance of the past entirely to be happy, which feels wildly queer to me when compared to your ''When Harry Met Sally''s or ''Pretty Woman''s. It also queers the stereotype of the gay best friend, since, while the best friend character is, in fact, gay, so is every single other named character in the film. de62b0976885864bc037408767068e288b48cb52 0 70 755 2022-11-14T20:34:31Z Chloestarcloud 11 Created page with "== Sex and Gender == A prerequisite to understanding gender from a scientific perspective is knowing the difference between gender and sex. The term ‘sex’ refers to characteristics of personhood that are biologically defined and generally assigned at birth. A person’s sex is [[https://www.joshuakennon.com/the-six-common-biological-sexes-in-humans/ defined by karyotype]] and can be a variation of one of six survivable karyotype sexes, those being: X — Turner..." wikitext text/x-wiki == Sex and Gender == A prerequisite to understanding gender from a scientific perspective is knowing the difference between gender and sex. The term ‘sex’ refers to characteristics of personhood that are biologically defined and generally assigned at birth. A person’s sex is [[https://www.joshuakennon.com/the-six-common-biological-sexes-in-humans/ defined by karyotype]] and can be a variation of one of six survivable karyotype sexes, those being: X — Turner’s XX — Female XXY — Klinefelter XY — Male XYY — Male (chromosomal disorder) XXXY — Male (chromosomal aneuploidy) Each chromosomal variation produces different true sexes that are scientifically designated as such. While the most common sexes are female (XX) and male (XY), the understanding that there are only two biologically defined sexes is a wide misconception. As a result of genetic variation, the misconception that males develop what is considered more masculine traits and females' more feminine ones is also proven false. Chromosomal disorders such as chromosomal aneuploidy can result in a genetic variation often undiagnosed to individuals who carry the variation—most who possess chromosomal disorders have strong traditional male or female traits and normally express their gender through that basis. Now that we’ve established that sex is biologically determined by karyotypes and can be defined as more than just male (XY) and female (XX), defining gender from a psychological and sociological perspective is easier to understand. The term ‘gender’ refers to socially constructed features of masculinity and femininity. While the two most prominent sexes are male and female, it's proven that sex is not limited to those two karyotypes and gender functions the same. The gender expression of biological males tends to align with what society deems as more masculine and the expression of females tends to be more feminine — all of which are expressed through self-perception and behaviors. Similar to how there are two biologically dominant sexes [male and female], there are two socially dominant genders [man and woman]. While individuals most often align with manhood and womanhood based on the sex they were assigned at birth, it is not always the case. Very often, individuals experience a gender incongruous with their sex. == Gender Identity and the Transgender Experience == Similar to how there are two biologically dominant sexes [male and female], there are two socially dominant genders [man and woman]. While individuals most often align with manhood and womanhood based on the sex they were assigned at birth, it is not always the case. Very often, individuals experience a gender incongruous with their sex. If an individual identifies as the gender antithetical to their sex, that individual would typically identify as transgender. A transgender man is a man who was assigned as female at birth, and a transgender woman is a woman who was assigned as male. A transgender individual can identify as such regardless of how they appear to those around them. Gender expression, including expression that isn’t cis-gender, can be expressed by an individual internally and externally just the same. Again, because gender is developed on a sociological premise, the way in which a person expresses their gender is a valid and unique experience and does not need to conform to socially constructed notions of masculinity and femininity. Furthermore, an individual can express themselves as bi-gender, meaning that their gender identity reflects the feelings of both a man and a woman. There are also tri-gender and pan-gender (also called polygender) gender identities. Individuals with polygender identities can experience their gender(s) simultaneously and/or fluidly. The more colloquial term used for polygender individuals is gender-fluid, which refers to the change in a person’s gender expression, identity, or both. Another term used by individuals who don’t express or identify as one gender is non-binary. Non-binary describes genders out of the ‘gender binary', or in other words, don’t fall into the two most common ‘male’ and ‘female’ gender categories. == Transgender Expression == Most trans individuals, but not all, take steps to express their gender through their appearance. Many trans individuals take hormones such as estrogen, progesterone, testosterone or complete other forms of HRT (hormone replacement therapy) to aid the development of either feminine or masculine physical characteristics like breast development/reduction or hair growth/inhibition in face and genitalia regions. Other physical changes can be made through surgeries, such as facial feminization or facial masculinization surgeries, that alter an individual’s face shape to appear closer to their gender identity. A more serious medical procedure that transgender individuals can choose to have done is gender confirmation surgery. Gender confirmation surgery results in the creation of a sensate neo-vagina using parts of the original penis and an orchiectomy (testicle removal) for transgender women and a phalloplasty, which is the construction of a scrotum with testicular implants generally using the radial forearm flap method. Transgender males who receive a phalloplasty typically require multiple procedures and often have a hysterectomy done as an earlier procedure for their female-to-male sex reassignment. But not all steps require medical changes — most transgender individuals take steps to express their gender identity by changing their names and pronouns, dressing in ways that are traditionally known as more feminine or masculine, and implementing other minor cosmetic changes like wearing makeup or cutting/growing out their hair to express their identity. == Transgender Youth == Gender dysphoria is an experience most transgender individuals confront. Gender dysphoria generally begins in childhood and is the feeling of disconnection between one’s sex traits and their assigned gender and the gender they identify with. Common misconceptions about gender dysphoria and transgender experiences are that they are mental health disorders. Being transgender is not a mental health disorder or disability; it is simply the process of affirming gender identity in a manner out of accordance with socially accepted conventions of gender. There are no biological ties to gender, and therefore, == References == <references/> <ref> Ellie and Nele: From she to he - and back to she again [https://www.bbc.com/news/stories-51806011]</ref>[https://www.bbc.com/news/stories-51806011 Ellie and Nele: From she to he - and back to she again] == Other Sources for Further Reading == [[Transition to Detransition:Twin Sisters]] [[Lack of Fluidity: Detransitioning]] c55856e2b78beddac94e354f79465218f98c9d6b 756 755 2022-11-14T20:36:06Z Chloestarcloud 11 /* Sex and Gender */ wikitext text/x-wiki == Sex and Gender == A prerequisite to understanding gender from a scientific perspective is knowing the difference between gender and sex. The term ‘sex’ refers to characteristics of personhood that are biologically defined and generally assigned at birth. A person’s sex is [[https://www.joshuakennon.com/the-six-common-biological-sexes-in-humans/ defined by karyotype]] and can be a variation of one of six survivable karyotype sexes, those being: X — Turner’s XX — Female XXY — Klinefelter XY — Male XYY — Male (chromosomal disorder) XXXY — Male (chromosomal aneuploidy) Each chromosomal variation produces different true sexes that are scientifically designated as such. While the most common sexes are female (XX) and male (XY), the understanding that there are only two biologically defined sexes is a wide misconception. As a result of genetic variation, the misconception that males develop what is considered more masculine traits and females' more feminine ones is also proven false. Chromosomal disorders such as chromosomal aneuploidy can result in a genetic variation often undiagnosed to individuals who carry the variation—most who possess chromosomal disorders have strong traditional male or female traits and normally express their gender through that basis. Now that we’ve established that sex is biologically determined by karyotypes and can be defined as more than just male (XY) and female (XX), defining gender from a psychological and sociological perspective is easier to understand. The term ‘gender’ refers to socially constructed features of masculinity and femininity. While the two most prominent sexes are male and female, it's proven that sex is not limited to those two karyotypes and gender functions the same. The gender expression of biological males tends to align with what society deems as more masculine and the expression of females tends to be more feminine — all of which are expressed through self-perception and behaviors. Similar to how there are two biologically dominant sexes [male and female], there are two socially dominant genders [man and woman]. While individuals most often align with manhood and womanhood based on the sex they were assigned at birth, it is not always the case. Very often, individuals experience a gender incongruous with their sex. == Gender Identity and the Transgender Experience == Similar to how there are two biologically dominant sexes [male and female], there are two socially dominant genders [man and woman]. While individuals most often align with manhood and womanhood based on the sex they were assigned at birth, it is not always the case. Very often, individuals experience a gender incongruous with their sex. If an individual identifies as the gender antithetical to their sex, that individual would typically identify as transgender. A transgender man is a man who was assigned as female at birth, and a transgender woman is a woman who was assigned as male. A transgender individual can identify as such regardless of how they appear to those around them. Gender expression, including expression that isn’t cis-gender, can be expressed by an individual internally and externally just the same. Again, because gender is developed on a sociological premise, the way in which a person expresses their gender is a valid and unique experience and does not need to conform to socially constructed notions of masculinity and femininity. Furthermore, an individual can express themselves as bi-gender, meaning that their gender identity reflects the feelings of both a man and a woman. There are also tri-gender and pan-gender (also called polygender) gender identities. Individuals with polygender identities can experience their gender(s) simultaneously and/or fluidly. The more colloquial term used for polygender individuals is gender-fluid, which refers to the change in a person’s gender expression, identity, or both. Another term used by individuals who don’t express or identify as one gender is non-binary. Non-binary describes genders out of the ‘gender binary', or in other words, don’t fall into the two most common ‘male’ and ‘female’ gender categories. == Transgender Expression == Most trans individuals, but not all, take steps to express their gender through their appearance. Many trans individuals take hormones such as estrogen, progesterone, testosterone or complete other forms of HRT (hormone replacement therapy) to aid the development of either feminine or masculine physical characteristics like breast development/reduction or hair growth/inhibition in face and genitalia regions. Other physical changes can be made through surgeries, such as facial feminization or facial masculinization surgeries, that alter an individual’s face shape to appear closer to their gender identity. A more serious medical procedure that transgender individuals can choose to have done is gender confirmation surgery. Gender confirmation surgery results in the creation of a sensate neo-vagina using parts of the original penis and an orchiectomy (testicle removal) for transgender women and a phalloplasty, which is the construction of a scrotum with testicular implants generally using the radial forearm flap method. Transgender males who receive a phalloplasty typically require multiple procedures and often have a hysterectomy done as an earlier procedure for their female-to-male sex reassignment. But not all steps require medical changes — most transgender individuals take steps to express their gender identity by changing their names and pronouns, dressing in ways that are traditionally known as more feminine or masculine, and implementing other minor cosmetic changes like wearing makeup or cutting/growing out their hair to express their identity. == Transgender Youth == Gender dysphoria is an experience most transgender individuals confront. Gender dysphoria generally begins in childhood and is the feeling of disconnection between one’s sex traits and their assigned gender and the gender they identify with. Common misconceptions about gender dysphoria and transgender experiences are that they are mental health disorders. Being transgender is not a mental health disorder or disability; it is simply the process of affirming gender identity in a manner out of accordance with socially accepted conventions of gender. There are no biological ties to gender, and therefore, == References == <references/> <ref> Ellie and Nele: From she to he - and back to she again [https://www.bbc.com/news/stories-51806011]</ref>[https://www.bbc.com/news/stories-51806011 Ellie and Nele: From she to he - and back to she again] == Other Sources for Further Reading == [[Transition to Detransition:Twin Sisters]] [[Lack of Fluidity: Detransitioning]] 1c6ce7ad356308a31f8044a29c24fd3d3123864c 0 70 757 756 2022-11-14T20:37:24Z Chloestarcloud 11 /* Sex and Gender */ wikitext text/x-wiki == Sex and Gender == A prerequisite to understanding gender from a scientific perspective is knowing the difference between gender and sex. The term ‘sex’ refers to characteristics of personhood that are biologically defined and generally assigned at birth. A person’s sex is defined by karyotype and can be a variation of one of six survivable karyotype sexes, those being: (X — Turner’s) (XX — Female) (XXY — Klinefelter) (XY — Male) (XYY — Male (chromosomal disorder)) (XXXY — Male (chromosomal aneuploidy)) Each chromosomal variation produces different true sexes that are scientifically designated as such. While the most common sexes are female (XX) and male (XY), the understanding that there are only two biologically defined sexes is a wide misconception. As a result of genetic variation, the misconception that males develop what is considered more masculine traits and females' more feminine ones is also proven false. Chromosomal disorders such as chromosomal aneuploidy can result in a genetic variation often undiagnosed to individuals who carry the variation—most who possess chromosomal disorders have strong traditional male or female traits and normally express their gender through that basis. Now that we’ve established that sex is biologically determined by karyotypes and can be defined as more than just male (XY) and female (XX), defining gender from a psychological and sociological perspective is easier to understand. The term ‘gender’ refers to socially constructed features of masculinity and femininity. While the two most prominent sexes are male and female, it's proven that sex is not limited to those two karyotypes and gender functions the same. The gender expression of biological males tends to align with what society deems as more masculine and the expression of females tends to be more feminine — all of which are expressed through self-perception and behaviors. Similar to how there are two biologically dominant sexes [male and female], there are two socially dominant genders [man and woman]. While individuals most often align with manhood and womanhood based on the sex they were assigned at birth, it is not always the case. Very often, individuals experience a gender incongruous with their sex. == Gender Identity and the Transgender Experience == Similar to how there are two biologically dominant sexes [male and female], there are two socially dominant genders [man and woman]. While individuals most often align with manhood and womanhood based on the sex they were assigned at birth, it is not always the case. Very often, individuals experience a gender incongruous with their sex. If an individual identifies as the gender antithetical to their sex, that individual would typically identify as transgender. A transgender man is a man who was assigned as female at birth, and a transgender woman is a woman who was assigned as male. A transgender individual can identify as such regardless of how they appear to those around them. Gender expression, including expression that isn’t cis-gender, can be expressed by an individual internally and externally just the same. Again, because gender is developed on a sociological premise, the way in which a person expresses their gender is a valid and unique experience and does not need to conform to socially constructed notions of masculinity and femininity. Furthermore, an individual can express themselves as bi-gender, meaning that their gender identity reflects the feelings of both a man and a woman. There are also tri-gender and pan-gender (also called polygender) gender identities. Individuals with polygender identities can experience their gender(s) simultaneously and/or fluidly. The more colloquial term used for polygender individuals is gender-fluid, which refers to the change in a person’s gender expression, identity, or both. Another term used by individuals who don’t express or identify as one gender is non-binary. Non-binary describes genders out of the ‘gender binary', or in other words, don’t fall into the two most common ‘male’ and ‘female’ gender categories. == Transgender Expression == Most trans individuals, but not all, take steps to express their gender through their appearance. Many trans individuals take hormones such as estrogen, progesterone, testosterone or complete other forms of HRT (hormone replacement therapy) to aid the development of either feminine or masculine physical characteristics like breast development/reduction or hair growth/inhibition in face and genitalia regions. Other physical changes can be made through surgeries, such as facial feminization or facial masculinization surgeries, that alter an individual’s face shape to appear closer to their gender identity. A more serious medical procedure that transgender individuals can choose to have done is gender confirmation surgery. Gender confirmation surgery results in the creation of a sensate neo-vagina using parts of the original penis and an orchiectomy (testicle removal) for transgender women and a phalloplasty, which is the construction of a scrotum with testicular implants generally using the radial forearm flap method. Transgender males who receive a phalloplasty typically require multiple procedures and often have a hysterectomy done as an earlier procedure for their female-to-male sex reassignment. But not all steps require medical changes — most transgender individuals take steps to express their gender identity by changing their names and pronouns, dressing in ways that are traditionally known as more feminine or masculine, and implementing other minor cosmetic changes like wearing makeup or cutting/growing out their hair to express their identity. == Transgender Youth == Gender dysphoria is an experience most transgender individuals confront. Gender dysphoria generally begins in childhood and is the feeling of disconnection between one’s sex traits and their assigned gender and the gender they identify with. Common misconceptions about gender dysphoria and transgender experiences are that they are mental health disorders. Being transgender is not a mental health disorder or disability; it is simply the process of affirming gender identity in a manner out of accordance with socially accepted conventions of gender. There are no biological ties to gender, and therefore, == References == <references/> <ref> Ellie and Nele: From she to he - and back to she again [https://www.bbc.com/news/stories-51806011]</ref>[https://www.bbc.com/news/stories-51806011 Ellie and Nele: From she to he - and back to she again] == Other Sources for Further Reading == [[Transition to Detransition:Twin Sisters]] [[Lack of Fluidity: Detransitioning]] c7081002e16b79bbafc49252186a1341cfb5386e 758 757 2022-11-14T20:58:51Z Chloestarcloud 11 /* Other Sources for Further Reading */ wikitext text/x-wiki == Sex and Gender == A prerequisite to understanding gender from a scientific perspective is knowing the difference between gender and sex. The term ‘sex’ refers to characteristics of personhood that are biologically defined and generally assigned at birth. A person’s sex is defined by karyotype and can be a variation of one of six survivable karyotype sexes, those being: (X — Turner’s) (XX — Female) (XXY — Klinefelter) (XY — Male) (XYY — Male (chromosomal disorder)) (XXXY — Male (chromosomal aneuploidy)) Each chromosomal variation produces different true sexes that are scientifically designated as such. While the most common sexes are female (XX) and male (XY), the understanding that there are only two biologically defined sexes is a wide misconception. As a result of genetic variation, the misconception that males develop what is considered more masculine traits and females' more feminine ones is also proven false. Chromosomal disorders such as chromosomal aneuploidy can result in a genetic variation often undiagnosed to individuals who carry the variation—most who possess chromosomal disorders have strong traditional male or female traits and normally express their gender through that basis. Now that we’ve established that sex is biologically determined by karyotypes and can be defined as more than just male (XY) and female (XX), defining gender from a psychological and sociological perspective is easier to understand. The term ‘gender’ refers to socially constructed features of masculinity and femininity. While the two most prominent sexes are male and female, it's proven that sex is not limited to those two karyotypes and gender functions the same. The gender expression of biological males tends to align with what society deems as more masculine and the expression of females tends to be more feminine — all of which are expressed through self-perception and behaviors. Similar to how there are two biologically dominant sexes [male and female], there are two socially dominant genders [man and woman]. While individuals most often align with manhood and womanhood based on the sex they were assigned at birth, it is not always the case. Very often, individuals experience a gender incongruous with their sex. == Gender Identity and the Transgender Experience == Similar to how there are two biologically dominant sexes [male and female], there are two socially dominant genders [man and woman]. While individuals most often align with manhood and womanhood based on the sex they were assigned at birth, it is not always the case. Very often, individuals experience a gender incongruous with their sex. If an individual identifies as the gender antithetical to their sex, that individual would typically identify as transgender. A transgender man is a man who was assigned as female at birth, and a transgender woman is a woman who was assigned as male. A transgender individual can identify as such regardless of how they appear to those around them. Gender expression, including expression that isn’t cis-gender, can be expressed by an individual internally and externally just the same. Again, because gender is developed on a sociological premise, the way in which a person expresses their gender is a valid and unique experience and does not need to conform to socially constructed notions of masculinity and femininity. Furthermore, an individual can express themselves as bi-gender, meaning that their gender identity reflects the feelings of both a man and a woman. There are also tri-gender and pan-gender (also called polygender) gender identities. Individuals with polygender identities can experience their gender(s) simultaneously and/or fluidly. The more colloquial term used for polygender individuals is gender-fluid, which refers to the change in a person’s gender expression, identity, or both. Another term used by individuals who don’t express or identify as one gender is non-binary. Non-binary describes genders out of the ‘gender binary', or in other words, don’t fall into the two most common ‘male’ and ‘female’ gender categories. == Transgender Expression == Most trans individuals, but not all, take steps to express their gender through their appearance. Many trans individuals take hormones such as estrogen, progesterone, testosterone or complete other forms of HRT (hormone replacement therapy) to aid the development of either feminine or masculine physical characteristics like breast development/reduction or hair growth/inhibition in face and genitalia regions. Other physical changes can be made through surgeries, such as facial feminization or facial masculinization surgeries, that alter an individual’s face shape to appear closer to their gender identity. A more serious medical procedure that transgender individuals can choose to have done is gender confirmation surgery. Gender confirmation surgery results in the creation of a sensate neo-vagina using parts of the original penis and an orchiectomy (testicle removal) for transgender women and a phalloplasty, which is the construction of a scrotum with testicular implants generally using the radial forearm flap method. Transgender males who receive a phalloplasty typically require multiple procedures and often have a hysterectomy done as an earlier procedure for their female-to-male sex reassignment. But not all steps require medical changes — most transgender individuals take steps to express their gender identity by changing their names and pronouns, dressing in ways that are traditionally known as more feminine or masculine, and implementing other minor cosmetic changes like wearing makeup or cutting/growing out their hair to express their identity. == Transgender Youth == Gender dysphoria is an experience most transgender individuals confront. Gender dysphoria generally begins in childhood and is the feeling of disconnection between one’s sex traits and their assigned gender and the gender they identify with. Common misconceptions about gender dysphoria and transgender experiences are that they are mental health disorders. Being transgender is not a mental health disorder or disability; it is simply the process of affirming gender identity in a manner out of accordance with socially accepted conventions of gender. There are no biological ties to gender, and therefore, == References == <references/> <ref> Ellie and Nele: From she to he - and back to she again [https://www.bbc.com/news/stories-51806011]</ref>[https://www.bbc.com/news/stories-51806011 Ellie and Nele: From she to he - and back to she again] == Other Sources for Further Reading == [[Transition to Detransition:Twin Sisters]] ca8438733a97ac7dbc1a96527b252cde6c37d7b0 762 758 2022-11-14T21:50:02Z Chloestarcloud 11 /* Transgender Youth */ wikitext text/x-wiki == Sex and Gender == A prerequisite to understanding gender from a scientific perspective is knowing the difference between gender and sex. The term ‘sex’ refers to characteristics of personhood that are biologically defined and generally assigned at birth. A person’s sex is defined by karyotype and can be a variation of one of six survivable karyotype sexes, those being: (X — Turner’s) (XX — Female) (XXY — Klinefelter) (XY — Male) (XYY — Male (chromosomal disorder)) (XXXY — Male (chromosomal aneuploidy)) Each chromosomal variation produces different true sexes that are scientifically designated as such. While the most common sexes are female (XX) and male (XY), the understanding that there are only two biologically defined sexes is a wide misconception. As a result of genetic variation, the misconception that males develop what is considered more masculine traits and females' more feminine ones is also proven false. Chromosomal disorders such as chromosomal aneuploidy can result in a genetic variation often undiagnosed to individuals who carry the variation—most who possess chromosomal disorders have strong traditional male or female traits and normally express their gender through that basis. Now that we’ve established that sex is biologically determined by karyotypes and can be defined as more than just male (XY) and female (XX), defining gender from a psychological and sociological perspective is easier to understand. The term ‘gender’ refers to socially constructed features of masculinity and femininity. While the two most prominent sexes are male and female, it's proven that sex is not limited to those two karyotypes and gender functions the same. The gender expression of biological males tends to align with what society deems as more masculine and the expression of females tends to be more feminine — all of which are expressed through self-perception and behaviors. Similar to how there are two biologically dominant sexes [male and female], there are two socially dominant genders [man and woman]. While individuals most often align with manhood and womanhood based on the sex they were assigned at birth, it is not always the case. Very often, individuals experience a gender incongruous with their sex. == Gender Identity and the Transgender Experience == Similar to how there are two biologically dominant sexes [male and female], there are two socially dominant genders [man and woman]. While individuals most often align with manhood and womanhood based on the sex they were assigned at birth, it is not always the case. Very often, individuals experience a gender incongruous with their sex. If an individual identifies as the gender antithetical to their sex, that individual would typically identify as transgender. A transgender man is a man who was assigned as female at birth, and a transgender woman is a woman who was assigned as male. A transgender individual can identify as such regardless of how they appear to those around them. Gender expression, including expression that isn’t cis-gender, can be expressed by an individual internally and externally just the same. Again, because gender is developed on a sociological premise, the way in which a person expresses their gender is a valid and unique experience and does not need to conform to socially constructed notions of masculinity and femininity. Furthermore, an individual can express themselves as bi-gender, meaning that their gender identity reflects the feelings of both a man and a woman. There are also tri-gender and pan-gender (also called polygender) gender identities. Individuals with polygender identities can experience their gender(s) simultaneously and/or fluidly. The more colloquial term used for polygender individuals is gender-fluid, which refers to the change in a person’s gender expression, identity, or both. Another term used by individuals who don’t express or identify as one gender is non-binary. Non-binary describes genders out of the ‘gender binary', or in other words, don’t fall into the two most common ‘male’ and ‘female’ gender categories. == Transgender Expression == Most trans individuals, but not all, take steps to express their gender through their appearance. Many trans individuals take hormones such as estrogen, progesterone, testosterone or complete other forms of HRT (hormone replacement therapy) to aid the development of either feminine or masculine physical characteristics like breast development/reduction or hair growth/inhibition in face and genitalia regions. Other physical changes can be made through surgeries, such as facial feminization or facial masculinization surgeries, that alter an individual’s face shape to appear closer to their gender identity. A more serious medical procedure that transgender individuals can choose to have done is gender confirmation surgery. Gender confirmation surgery results in the creation of a sensate neo-vagina using parts of the original penis and an orchiectomy (testicle removal) for transgender women and a phalloplasty, which is the construction of a scrotum with testicular implants generally using the radial forearm flap method. Transgender males who receive a phalloplasty typically require multiple procedures and often have a hysterectomy done as an earlier procedure for their female-to-male sex reassignment. But not all steps require medical changes — most transgender individuals take steps to express their gender identity by changing their names and pronouns, dressing in ways that are traditionally known as more feminine or masculine, and implementing other minor cosmetic changes like wearing makeup or cutting/growing out their hair to express their identity. == Transgender Children == Gender dysphoria is an experience most transgender individuals confront. Gender dysphoria generally begins in childhood and is the feeling of disconnection between one’s sex traits, socially assigned gender, and the gender they identify with. Gender dysphoria, as defined by Mayo Clinic, is the feeling of discomfort or distress that might occur in people whose gender identity differs from their sex assigned at birth. Although many individuals can work to overcome this feeling, for many, it can be a permanent experience, often increasing and decreasing in levels of intensity as a result of external factors impacting one's mental health. Common misconceptions about gender dysphoria and gender diversity are that they are mental health disorders. Being transgender is not a mental health disorder or disability — it is simply the process of affirming gender identity in a manner out of accordance with socially accepted conventions of gender. There are no biological ties to gender, and the actualization that one does not identify with the sex assigned at birth is realized during childhood. Transgender children face certain obstacles that may impede their route to affirm their gender. Children, in this case, must rely on the assistance of their adult guardians to learn about the transgender experience, and while cis-gender parents and family members might struggle to understand the nuances of their children's gender identity, it is important to recognize that transitioning children, like cis-gender children growing into their identity, still greatly impacted by social and environmental factors surrounding them. The level of family support transitioning children or gender-diverse children receives greatly impacts their emotional health and development. A [https://onlinelibrary.wiley.com/doi/abs/10.1521/suli.2007.37.5.527 study] researching transgender youth and life-threatening behaviors found that 18% of the total number of transgender teenagers apart of the study attempted suicide as a result of issues related to their gender identity. == References == <references/> <ref> Ellie and Nele: From she to he - and back to she again [https://www.bbc.com/news/stories-51806011]</ref>[https://www.bbc.com/news/stories-51806011 Ellie and Nele: From she to he - and back to she again] == Other Sources for Further Reading == [[Transition to Detransition:Twin Sisters]] 2fa15d60fa2ed9e3b1f848f513602f20ccfe4812 763 762 2022-11-14T21:53:56Z Chloestarcloud 11 /* Transgender Children */ wikitext text/x-wiki == Sex and Gender == A prerequisite to understanding gender from a scientific perspective is knowing the difference between gender and sex. The term ‘sex’ refers to characteristics of personhood that are biologically defined and generally assigned at birth. A person’s sex is defined by karyotype and can be a variation of one of six survivable karyotype sexes, those being: (X — Turner’s) (XX — Female) (XXY — Klinefelter) (XY — Male) (XYY — Male (chromosomal disorder)) (XXXY — Male (chromosomal aneuploidy)) Each chromosomal variation produces different true sexes that are scientifically designated as such. While the most common sexes are female (XX) and male (XY), the understanding that there are only two biologically defined sexes is a wide misconception. As a result of genetic variation, the misconception that males develop what is considered more masculine traits and females' more feminine ones is also proven false. Chromosomal disorders such as chromosomal aneuploidy can result in a genetic variation often undiagnosed to individuals who carry the variation—most who possess chromosomal disorders have strong traditional male or female traits and normally express their gender through that basis. Now that we’ve established that sex is biologically determined by karyotypes and can be defined as more than just male (XY) and female (XX), defining gender from a psychological and sociological perspective is easier to understand. The term ‘gender’ refers to socially constructed features of masculinity and femininity. While the two most prominent sexes are male and female, it's proven that sex is not limited to those two karyotypes and gender functions the same. The gender expression of biological males tends to align with what society deems as more masculine and the expression of females tends to be more feminine — all of which are expressed through self-perception and behaviors. Similar to how there are two biologically dominant sexes [male and female], there are two socially dominant genders [man and woman]. While individuals most often align with manhood and womanhood based on the sex they were assigned at birth, it is not always the case. Very often, individuals experience a gender incongruous with their sex. == Gender Identity and the Transgender Experience == Similar to how there are two biologically dominant sexes [male and female], there are two socially dominant genders [man and woman]. While individuals most often align with manhood and womanhood based on the sex they were assigned at birth, it is not always the case. Very often, individuals experience a gender incongruous with their sex. If an individual identifies as the gender antithetical to their sex, that individual would typically identify as transgender. A transgender man is a man who was assigned as female at birth, and a transgender woman is a woman who was assigned as male. A transgender individual can identify as such regardless of how they appear to those around them. Gender expression, including expression that isn’t cis-gender, can be expressed by an individual internally and externally just the same. Again, because gender is developed on a sociological premise, the way in which a person expresses their gender is a valid and unique experience and does not need to conform to socially constructed notions of masculinity and femininity. Furthermore, an individual can express themselves as bi-gender, meaning that their gender identity reflects the feelings of both a man and a woman. There are also tri-gender and pan-gender (also called polygender) gender identities. Individuals with polygender identities can experience their gender(s) simultaneously and/or fluidly. The more colloquial term used for polygender individuals is gender-fluid, which refers to the change in a person’s gender expression, identity, or both. Another term used by individuals who don’t express or identify as one gender is non-binary. Non-binary describes genders out of the ‘gender binary', or in other words, don’t fall into the two most common ‘male’ and ‘female’ gender categories. == Transgender Expression == Most trans individuals, but not all, take steps to express their gender through their appearance. Many trans individuals take hormones such as estrogen, progesterone, testosterone or complete other forms of HRT (hormone replacement therapy) to aid the development of either feminine or masculine physical characteristics like breast development/reduction or hair growth/inhibition in face and genitalia regions. Other physical changes can be made through surgeries, such as facial feminization or facial masculinization surgeries, that alter an individual’s face shape to appear closer to their gender identity. A more serious medical procedure that transgender individuals can choose to have done is gender confirmation surgery. Gender confirmation surgery results in the creation of a sensate neo-vagina using parts of the original penis and an orchiectomy (testicle removal) for transgender women and a phalloplasty, which is the construction of a scrotum with testicular implants generally using the radial forearm flap method. Transgender males who receive a phalloplasty typically require multiple procedures and often have a hysterectomy done as an earlier procedure for their female-to-male sex reassignment. But not all steps require medical changes — most transgender individuals take steps to express their gender identity by changing their names and pronouns, dressing in ways that are traditionally known as more feminine or masculine, and implementing other minor cosmetic changes like wearing makeup or cutting/growing out their hair to express their identity. == Transgender Children == Gender dysphoria is an experience most transgender individuals confront. Gender dysphoria generally begins in childhood and is the feeling of disconnection between one’s sex traits, socially assigned gender, and the gender they identify with. Gender dysphoria, as defined by Mayo Clinic, is the feeling of discomfort or distress that might occur in people whose gender identity differs from their sex assigned at birth. Although many individuals can work to overcome this feeling, for many, it can be a permanent experience, often increasing and decreasing in levels of intensity as a result of external factors impacting one's mental health. Common misconceptions about gender dysphoria and gender diversity are that they are mental health disorders. Being transgender is not a mental health disorder or disability — it is simply the process of affirming gender identity in a manner out of accordance with socially accepted conventions of gender. There are no biological ties to gender, and the actualization that one does not identify with the sex assigned at birth is realized during childhood. Transgender children face certain obstacles that may impede their route to affirm their gender. Children, in this case, must rely on the assistance of their adult guardians to learn about the transgender experience, and while cis-gender parents and family members might struggle to understand the nuances of their children's gender identity, it is important to recognize that transitioning children, like cis-gender children growing into their identity, still greatly impacted by social and environmental factors surrounding them. The level of family support transitioning children or gender-diverse children receives greatly impacts their emotional health and development. A [https://onlinelibrary.wiley.com/doi/abs/10.1521/suli.2007.37.5.527 study] researching transgender youth and life-threatening behaviors found that 18% of the total number of transgender teenagers apart of the study attempted suicide as a result of issues related to their gender identity. Mental health resources for children can be found at [https://www.glaad.org/transgender/resources glaad.org]. For parents searching for further support for their child, visit [https://www.hrc.org/resources/transgender-children-and-youth-understanding-the-basics HRC.org]. == References == <references/> <ref> Ellie and Nele: From she to he - and back to she again [https://www.bbc.com/news/stories-51806011]</ref>[https://www.bbc.com/news/stories-51806011 Ellie and Nele: From she to he - and back to she again] == Other Sources for Further Reading == [[Transition to Detransition:Twin Sisters]] 79cc8ce699c25ac39c43a72abd8b2022bd098d17 764 763 2022-11-14T21:54:27Z Chloestarcloud 11 /* References */ wikitext text/x-wiki == Sex and Gender == A prerequisite to understanding gender from a scientific perspective is knowing the difference between gender and sex. The term ‘sex’ refers to characteristics of personhood that are biologically defined and generally assigned at birth. A person’s sex is defined by karyotype and can be a variation of one of six survivable karyotype sexes, those being: (X — Turner’s) (XX — Female) (XXY — Klinefelter) (XY — Male) (XYY — Male (chromosomal disorder)) (XXXY — Male (chromosomal aneuploidy)) Each chromosomal variation produces different true sexes that are scientifically designated as such. While the most common sexes are female (XX) and male (XY), the understanding that there are only two biologically defined sexes is a wide misconception. As a result of genetic variation, the misconception that males develop what is considered more masculine traits and females' more feminine ones is also proven false. Chromosomal disorders such as chromosomal aneuploidy can result in a genetic variation often undiagnosed to individuals who carry the variation—most who possess chromosomal disorders have strong traditional male or female traits and normally express their gender through that basis. Now that we’ve established that sex is biologically determined by karyotypes and can be defined as more than just male (XY) and female (XX), defining gender from a psychological and sociological perspective is easier to understand. The term ‘gender’ refers to socially constructed features of masculinity and femininity. While the two most prominent sexes are male and female, it's proven that sex is not limited to those two karyotypes and gender functions the same. The gender expression of biological males tends to align with what society deems as more masculine and the expression of females tends to be more feminine — all of which are expressed through self-perception and behaviors. Similar to how there are two biologically dominant sexes [male and female], there are two socially dominant genders [man and woman]. While individuals most often align with manhood and womanhood based on the sex they were assigned at birth, it is not always the case. Very often, individuals experience a gender incongruous with their sex. == Gender Identity and the Transgender Experience == Similar to how there are two biologically dominant sexes [male and female], there are two socially dominant genders [man and woman]. While individuals most often align with manhood and womanhood based on the sex they were assigned at birth, it is not always the case. Very often, individuals experience a gender incongruous with their sex. If an individual identifies as the gender antithetical to their sex, that individual would typically identify as transgender. A transgender man is a man who was assigned as female at birth, and a transgender woman is a woman who was assigned as male. A transgender individual can identify as such regardless of how they appear to those around them. Gender expression, including expression that isn’t cis-gender, can be expressed by an individual internally and externally just the same. Again, because gender is developed on a sociological premise, the way in which a person expresses their gender is a valid and unique experience and does not need to conform to socially constructed notions of masculinity and femininity. Furthermore, an individual can express themselves as bi-gender, meaning that their gender identity reflects the feelings of both a man and a woman. There are also tri-gender and pan-gender (also called polygender) gender identities. Individuals with polygender identities can experience their gender(s) simultaneously and/or fluidly. The more colloquial term used for polygender individuals is gender-fluid, which refers to the change in a person’s gender expression, identity, or both. Another term used by individuals who don’t express or identify as one gender is non-binary. Non-binary describes genders out of the ‘gender binary', or in other words, don’t fall into the two most common ‘male’ and ‘female’ gender categories. == Transgender Expression == Most trans individuals, but not all, take steps to express their gender through their appearance. Many trans individuals take hormones such as estrogen, progesterone, testosterone or complete other forms of HRT (hormone replacement therapy) to aid the development of either feminine or masculine physical characteristics like breast development/reduction or hair growth/inhibition in face and genitalia regions. Other physical changes can be made through surgeries, such as facial feminization or facial masculinization surgeries, that alter an individual’s face shape to appear closer to their gender identity. A more serious medical procedure that transgender individuals can choose to have done is gender confirmation surgery. Gender confirmation surgery results in the creation of a sensate neo-vagina using parts of the original penis and an orchiectomy (testicle removal) for transgender women and a phalloplasty, which is the construction of a scrotum with testicular implants generally using the radial forearm flap method. Transgender males who receive a phalloplasty typically require multiple procedures and often have a hysterectomy done as an earlier procedure for their female-to-male sex reassignment. But not all steps require medical changes — most transgender individuals take steps to express their gender identity by changing their names and pronouns, dressing in ways that are traditionally known as more feminine or masculine, and implementing other minor cosmetic changes like wearing makeup or cutting/growing out their hair to express their identity. == Transgender Children == Gender dysphoria is an experience most transgender individuals confront. Gender dysphoria generally begins in childhood and is the feeling of disconnection between one’s sex traits, socially assigned gender, and the gender they identify with. Gender dysphoria, as defined by Mayo Clinic, is the feeling of discomfort or distress that might occur in people whose gender identity differs from their sex assigned at birth. Although many individuals can work to overcome this feeling, for many, it can be a permanent experience, often increasing and decreasing in levels of intensity as a result of external factors impacting one's mental health. Common misconceptions about gender dysphoria and gender diversity are that they are mental health disorders. Being transgender is not a mental health disorder or disability — it is simply the process of affirming gender identity in a manner out of accordance with socially accepted conventions of gender. There are no biological ties to gender, and the actualization that one does not identify with the sex assigned at birth is realized during childhood. Transgender children face certain obstacles that may impede their route to affirm their gender. Children, in this case, must rely on the assistance of their adult guardians to learn about the transgender experience, and while cis-gender parents and family members might struggle to understand the nuances of their children's gender identity, it is important to recognize that transitioning children, like cis-gender children growing into their identity, still greatly impacted by social and environmental factors surrounding them. The level of family support transitioning children or gender-diverse children receives greatly impacts their emotional health and development. A [https://onlinelibrary.wiley.com/doi/abs/10.1521/suli.2007.37.5.527 study] researching transgender youth and life-threatening behaviors found that 18% of the total number of transgender teenagers apart of the study attempted suicide as a result of issues related to their gender identity. Mental health resources for children can be found at [https://www.glaad.org/transgender/resources glaad.org]. For parents searching for further support for their child, visit [https://www.hrc.org/resources/transgender-children-and-youth-understanding-the-basics HRC.org]. == References == <references/> <ref> == Other Sources for Further Reading == [[Transition to Detransition:Twin Sisters]] d8fa26418a4032301f2066004fb9e7dd89c6e4f3 0 71 759 2022-11-14T21:03:41Z Jazzypug2010 16 Created page with "Throughout history, the transgender community was often criticized and ridiculed for challenging the stereotypical cis-gender norms. Even though the transgender community is more accepted now, there is still discrimination to those within the transgender community. For example, if someone were to transition later in life, it is often criticized for transitioning so late in life. This brings up several important points as to how older transgender people deal with the chal..." wikitext text/x-wiki Throughout history, the transgender community was often criticized and ridiculed for challenging the stereotypical cis-gender norms. Even though the transgender community is more accepted now, there is still discrimination to those within the transgender community. For example, if someone were to transition later in life, it is often criticized for transitioning so late in life. This brings up several important points as to how older transgender people deal with the challenges like gender dysphoria and social constructs. == What is Gender Dysphoria? == It is often frowned upon when someone of an older age (typically in their 50’s and beyond) chooses to transition, after living their entire life as another gender. This is a growing issue with the lack of acceptance from others, sometimes even those in the transgender community. Why does this occur? Why do those who want to transition at an older age feel this way? This occurs often because of something called gender dysphoria. What is gender dysphoria? Gender dysphoria is the psychological distress between one’s assigned sex at birth and one’s gender identity. When someone experiences gender dysphoria, they often feel as if their gender identity does not align with the sex they were assigned to at birth. Typically, gender dysphoria begins during childhood, but some people can experience this during puberty and even much later in life. Gender dysphoria works closely with transgender ideals, as it later influences people to change their name or pronouns to better fit their gender identity. Because gender dysphoria can occur at any age, it is important to to note that it is normal to transition at an older age. == Transitioning at an Older Age == Now, transitioning at a younger age is considered the norm within the trans-community. However, people who transition at an older age are more common than people know. A study estimated that 0.5% of Americans over the age of 65 identified as transgender later in life. This is in comparison with the 0.7% of transgender people within the ages of 13 to 24 (CNN). In addition, transitioning at an older age also often brings up many issues concerning health and social acceptability. When someone transitions at an older age, it is often more difficult to receive medical treatment due to health care concerns and issues. For example, research has shown that transgender older adults have faced challenges concerning quality of health, access to healthcare, employment, and housing (National Center for Transgender Equality). == Older Generation Representation Through Art == Jess Dugan, a photographer who has been capturing America’s transgender community for 15 years, decided to tackle the older generation of transgender people. Dugan identifies as queer and gender non-conforming. She came out as gay when she was 13 years old, but later questioned her gender identity. This ultimately lead her to use the art of photography as a way to express herself. Now, Dugan has created a compilation of photographs representing older transgender people so that they have a space to shine and be represented. Dugan’s goal of this project is to collaborate with non-profits and education groups so that this older-aged group can be accurately represented next to the younger generation of the transgender community (CNN). == More Information == To find out more, check out... == References == <references/> # https://www.psychiatry.org/patients-families/gender-dysphoria/what-is-gender-dysphoria # https://www.cnn.com/style/article/transgender-older-adults-portraits/index.html # https://transequality.org/issues/aging # https://www.thetrevorproject.org/ feefdb85b53a1af5b5c5cec847dc2c46bc77aa56 760 759 2022-11-14T21:04:32Z Jazzypug2010 16 /* References */ wikitext text/x-wiki Throughout history, the transgender community was often criticized and ridiculed for challenging the stereotypical cis-gender norms. Even though the transgender community is more accepted now, there is still discrimination to those within the transgender community. For example, if someone were to transition later in life, it is often criticized for transitioning so late in life. This brings up several important points as to how older transgender people deal with the challenges like gender dysphoria and social constructs. == What is Gender Dysphoria? == It is often frowned upon when someone of an older age (typically in their 50’s and beyond) chooses to transition, after living their entire life as another gender. This is a growing issue with the lack of acceptance from others, sometimes even those in the transgender community. Why does this occur? Why do those who want to transition at an older age feel this way? This occurs often because of something called gender dysphoria. What is gender dysphoria? Gender dysphoria is the psychological distress between one’s assigned sex at birth and one’s gender identity. When someone experiences gender dysphoria, they often feel as if their gender identity does not align with the sex they were assigned to at birth. Typically, gender dysphoria begins during childhood, but some people can experience this during puberty and even much later in life. Gender dysphoria works closely with transgender ideals, as it later influences people to change their name or pronouns to better fit their gender identity. Because gender dysphoria can occur at any age, it is important to to note that it is normal to transition at an older age. == Transitioning at an Older Age == Now, transitioning at a younger age is considered the norm within the trans-community. However, people who transition at an older age are more common than people know. A study estimated that 0.5% of Americans over the age of 65 identified as transgender later in life. This is in comparison with the 0.7% of transgender people within the ages of 13 to 24 (CNN). In addition, transitioning at an older age also often brings up many issues concerning health and social acceptability. When someone transitions at an older age, it is often more difficult to receive medical treatment due to health care concerns and issues. For example, research has shown that transgender older adults have faced challenges concerning quality of health, access to healthcare, employment, and housing (National Center for Transgender Equality). == Older Generation Representation Through Art == Jess Dugan, a photographer who has been capturing America’s transgender community for 15 years, decided to tackle the older generation of transgender people. Dugan identifies as queer and gender non-conforming. She came out as gay when she was 13 years old, but later questioned her gender identity. This ultimately lead her to use the art of photography as a way to express herself. Now, Dugan has created a compilation of photographs representing older transgender people so that they have a space to shine and be represented. Dugan’s goal of this project is to collaborate with non-profits and education groups so that this older-aged group can be accurately represented next to the younger generation of the transgender community (CNN). == More Information == To find out more, check out... == References == <references/> # https://www.psychiatry.org/patients-families/gender-dysphoria/what-is-gender-dysphoria # https://www.cnn.com/style/article/transgender-older-adults-portraits/index.html # https://transequality.org/issues/aging 81e9346c797b105d9c4c573d39a51161725cb330 761 760 2022-11-14T21:44:51Z Jazzypug2010 16 /* Older Generation Representation Through Art */ wikitext text/x-wiki Throughout history, the transgender community was often criticized and ridiculed for challenging the stereotypical cis-gender norms. Even though the transgender community is more accepted now, there is still discrimination to those within the transgender community. For example, if someone were to transition later in life, it is often criticized for transitioning so late in life. This brings up several important points as to how older transgender people deal with the challenges like gender dysphoria and social constructs. == What is Gender Dysphoria? == It is often frowned upon when someone of an older age (typically in their 50’s and beyond) chooses to transition, after living their entire life as another gender. This is a growing issue with the lack of acceptance from others, sometimes even those in the transgender community. Why does this occur? Why do those who want to transition at an older age feel this way? This occurs often because of something called gender dysphoria. What is gender dysphoria? Gender dysphoria is the psychological distress between one’s assigned sex at birth and one’s gender identity. When someone experiences gender dysphoria, they often feel as if their gender identity does not align with the sex they were assigned to at birth. Typically, gender dysphoria begins during childhood, but some people can experience this during puberty and even much later in life. Gender dysphoria works closely with transgender ideals, as it later influences people to change their name or pronouns to better fit their gender identity. Because gender dysphoria can occur at any age, it is important to to note that it is normal to transition at an older age. == Transitioning at an Older Age == Now, transitioning at a younger age is considered the norm within the trans-community. However, people who transition at an older age are more common than people know. A study estimated that 0.5% of Americans over the age of 65 identified as transgender later in life. This is in comparison with the 0.7% of transgender people within the ages of 13 to 24 (CNN). In addition, transitioning at an older age also often brings up many issues concerning health and social acceptability. When someone transitions at an older age, it is often more difficult to receive medical treatment due to health care concerns and issues. For example, research has shown that transgender older adults have faced challenges concerning quality of health, access to healthcare, employment, and housing (National Center for Transgender Equality). == Older Generation Representation Through Art == Jess Dugan, a photographer who has been capturing America’s transgender community for 15 years, decided to tackle the older generation of transgender people. Dugan identifies as queer and gender non-conforming. She came out as gay when she was 13 years old, but later questioned her gender identity. This ultimately led her to use the art of photography as a way to express herself. Now, Dugan has created a compilation of photographs representing older transgender people so that they have a space to shine and be represented. Dugan’s goal of this project is to collaborate with non-profits and education groups so that this older-aged group can be accurately represented next to the younger generation of the transgender community (CNN). == More Information == To find out more, check out... == References == <references/> # https://www.psychiatry.org/patients-families/gender-dysphoria/what-is-gender-dysphoria # https://www.cnn.com/style/article/transgender-older-adults-portraits/index.html # https://transequality.org/issues/aging 898cf25291449c79329426179a4597d279ade587 0 35 765 330 2022-11-16T22:06:25Z Chloestarcloud 11 wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == Founders == "In July of 2011, Jack Evans and George Harris proposed the idea that “someone ought to collect the GLBT history of Dallas.” On Thursday, August 25, 2011, at 4PM, Jack hosted a meeting at Resource Center Dallas where he shared his idea with 17 curious attendees, who, in turn, shared colorful stories of their own. A follow-up meeting was scheduled for Thursday, Sept 15, 2011 at 6pm in the Great Room at the ilume, located at 4123 Cedar Springs (room reservation arranged by Tony Vedda, Chairman of the North Texas GLBT Chamber of Commerce). 31 enthusiastic people attended this meeting. This informal meeting was repeated, monthly, on October 20, November 10, and December 8 of 2011. Carl Parker, who realized we needed a smaller group to meet more often than the larger monthly community group meetings, gathered Mike Anglin, Buddy Mullino, and Robert Emery, along with Jack & George." Each individual holds their own role within the organization that changes over the years due to the organization growing. Written by Robert Emery == Stories == I did an internship with this organization. While I was working with the organization, I changed two individuals' oral stories into written ones. One of the individuals I worked with was Pamela Curry. She is an individual who brought the financial side of AIDS to light. Pamela Curry; Pamela Curry is a trans woman but also an activist within her community. Her story begins with a crisis of faith and ends with Pamela holding the first Transgender Day of Remembrance (TDOR) in Dallas, Texas through the Cathedral of Hope. She grew up believing in the Catholic religion. However, when she was sitting in a lecture, she noticed this crisis of faith even though she had been struggling with her identity for a long time. Pamela knew it was Satan but it did not matter how many rosaries she said; the feeling did not go away. Pamela returned back to the Dallas area in 2001 after spending fourteen months in Austin trying to escape a bad relationship. This relationship was filled with alcoholism and abuse. While in Austin, she started going to church again and had her first meeting with an organization called Act Now, a national initiative that supports community groups and organizations working together to reimagine what their communities can become. At this meeting, she was told by a man that the organization did not need “her nor her kind”. When she returned to Dallas, she began attending Cathedral of Hope, which is the largest LGBTQ serving church in the world (https://cathedralofhope.com). Pamela started to get involved even though she was hesitant since she had never attended a church of this size. In November of 2001, Pamela was talking to a friend in an American Online trans chat room. This friend, who had been one of the so-called “Screaming Queens” at the Compton’s Cafeteria riots in 1966 San Francisco, introduced Pamela to Transgender Day of Remembrance, an internatinal event held annually in November to remember and memorialize thise who are killed by anti-trans violence. Shortly after this conversation, another friend of Pamela’s who lived in Houston prompted Pamela: “You’ve got that big, beatuiful church in Dallas, how come there is not Transgender Day of Remembrance?” As a new member who did not know anybody, Pamela knew she could not make it happen that year but she committed to making it happen the following year. Pamela approached an individual at the church named Linda Freeman. She told Linda she needed to make this happen but how did she do it and who did she need to talk to? Linda suggested that Pamela talked to Reverend Mona West. Pamela asked Linda to accompany her to the meeting since she did not know Reverend West. After making the meeting and giving the pitch, Reverend West agreed they needed to make this day happen. On November 24. 2002, as a result of Pamela Curry’s advocacy and action, Cathedral of Hope hosted Dallas’s first ever Transgender Day of Remembrance. 2002 was a busy year for Pamela and her community. This was the year that Sesame Workshop, the non-profit that produces the show Sesame Street, announced they were bringing a new Muppet to their South African show, Takalani Sesame: an HIV+ muppet named Kami. This character was meant to destigmatize HIV in a region that was being decimated by AIDS. The Republican party during this time signed off on the attack of Kami which is where Pamela started her activist campaign. She wrote every Republican a letter who signed off on the attack. She also sent the same copies of the letter to PBS, Public Broadcasting Service, and Sesame Workshop. Shortly after these letters, she received a call from POZ Magazine. POZ Magazine is a magazine that shares the lives of people affected by HIV/AIDS; they also share daily news, treatment options, forums. blogs, personals. Her article appeared in POZ magazine in October of 2002 titled “Mup Roar” which started with “Did she get it from Gover? We may never find out” (https://www.poz.com/article/Mup-Roar-976-7363). News of this Muppet caused a week-long uproar, in July, in the United States. The United States Sesame Workshop announced they would not be debuting this Muppet but PBS, Pat Mitchell, said he would not permanently rule out how to tell the Muppet to get on Sesame Street. HIV positive parents in the US such as Pamela Curry of Dallas, Texas called this move to be nothing but an attempt of tactical strong-arm censorship. The article Pamela wrote for POZ magazine was her first actual action for HIV advocacy and it was defending a Muppet. A couple of months after the first TDOR Pamela got invited to a meeting at HHS which is now the AIDS Coalition of Texas. She got invited because of her article on the Muppet. Compared to her last meeting where she was told they did not need her kind, at this meeting, Pamela was told by the brother of the founder that they needed everybody so she got on the bus. In January 2003, she headed to this meeting with a poster. With this poster, Pamela gave her speech. “My name is Pamela Curry, I am a forty-five year old transsexual female, a resident of the city and county of Dallas in addition to being uh well diagnosed with HIV in 97. I’m an active member of the Cathedral of Hope, the Dallas Transgender Alliance, and I want to thank Act Now for providing the means for me to be here today. We cannot afford cuts to the Texas HIV medication program. I hope you like the visual aids provided by many of the previous speakers...” Her speech continued with information about her financials with the costs of needed medications. She explained that her social security check in 2003 was a thousand four dollars and at Tom Thumb right down the street the AZT medication was one hundred and twenty-two dollars a month, her generics was three hundred and fifty dollars a month, her norvir was one hundred and twenty-eight, my ziongin was four hundred and four. With those costs, her medications already surpassed her check. The listed expenses did not include a place to live or food to eat. Before her speech, all of the news media left then reentered during. They thought all of the individuals worth taking pictures of had already gone but they captured a photo of her holding her poster. Almost every newspaper in the state had her picture on the front page and the next week she was on the front page of The Dallas Morning News. A couple of weeks after the articles she got a call asking to be a regional coordinator for ACT NOW. Pamela still received a lot of pushback in her position because they believed they did not need her “kind”. The same man from Fort Worth that told her they did not need her kind in 1999 was upset because she went over him in position, authority, and pay. Eventually, the hostility from leadership became enough and it brought her to quit. Then she received a phone call from the executive director, legislative coordinator who replaced the individual with an alcohol problem, three days later that they wanted to take her out to eat where they asked for her back. She apologized and said that she could not because she had someone in Fort Worth who would not even work for her so they created her a new position but there was still a problem. The executive director had a drug problem that led him to be fired in 2004. On January 8th, 2005, she was at a meeting at the Marriott Hotel with Reverend Culberson, Mr. Lorenzo Sia’s -a pharmaceutical representative -from El Paso, and Dr. Amid from Houston where they created a new organization. While they were speaking about a budget, someone called them from Houston and told them they needed a capital day event but they had to change their name. They had their event, Transgender Day of Remembrance, so they changed their name to Texas Age Advocacy Coalition. Articles on the majority of all past and present TDOR events can be found on https://dallasvoice.com. In 2004, Pamela was in a patient advocacy summit in Philadelphia. They interviewed her with the question, “Why do you advocate for people?” She replied with, “It’s simple. The same reason I help anybody is because someday I may be too weak, too sick, too ill to speak for myself.” When Pamela helps any of her sisters with a document for name change, gender marker change, or anything when they always come back and ask how they could thank her. Pamela tells and encourages all to empower and help someone else! == How to Become Involved == Their website gives many options to become involved in their organization. Some of their listings even include what your money would be going to which is neat to see. One of the easiest ways to become involved is to be a member. The members range from student, scholar, librarian, curator, archivist, and historian. Student is the cheapest rate with each gradually increasing from there in value and work it can produce. For example, the student membership is thirty-five dollars and helps create one page for the archives. If someone does not want to identify themselves as a member, they can also choose to be a donor with any amount they choose. The other option that requires no money is volunteering for the organization. Money donations go towards, but not limited to, the website, invitations to events, events, video equipment, UNT, etc. == Student Activism == In an effort to further promote the Dallas Way's non-profit organization, students in the [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics course at TCU, worked collaboratively on a campaign bringing awareness to the Dallas Way non-profit organization. The campaign's mission is to push to engage the 18-24 year old demographic in the Fort Worth area and encourage Texas Christian University students to donate to the Dallas Way. '''Artist Statement: Chloe Cloud''' '''Artist Statement: Dania Kreisl''' '''Artist Statement: Jessica Schaffer''' '''Artist Statement: Ariel Wilder''' == Photos == == References == <references/> 51f8500f7823088a5eb124ed1ed785e04910cdff 766 765 2022-11-16T22:09:05Z Chloestarcloud 11 /* Student Activism */ wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == Founders == "In July of 2011, Jack Evans and George Harris proposed the idea that “someone ought to collect the GLBT history of Dallas.” On Thursday, August 25, 2011, at 4PM, Jack hosted a meeting at Resource Center Dallas where he shared his idea with 17 curious attendees, who, in turn, shared colorful stories of their own. A follow-up meeting was scheduled for Thursday, Sept 15, 2011 at 6pm in the Great Room at the ilume, located at 4123 Cedar Springs (room reservation arranged by Tony Vedda, Chairman of the North Texas GLBT Chamber of Commerce). 31 enthusiastic people attended this meeting. This informal meeting was repeated, monthly, on October 20, November 10, and December 8 of 2011. Carl Parker, who realized we needed a smaller group to meet more often than the larger monthly community group meetings, gathered Mike Anglin, Buddy Mullino, and Robert Emery, along with Jack & George." Each individual holds their own role within the organization that changes over the years due to the organization growing. Written by Robert Emery == Stories == I did an internship with this organization. While I was working with the organization, I changed two individuals' oral stories into written ones. One of the individuals I worked with was Pamela Curry. She is an individual who brought the financial side of AIDS to light. Pamela Curry; Pamela Curry is a trans woman but also an activist within her community. Her story begins with a crisis of faith and ends with Pamela holding the first Transgender Day of Remembrance (TDOR) in Dallas, Texas through the Cathedral of Hope. She grew up believing in the Catholic religion. However, when she was sitting in a lecture, she noticed this crisis of faith even though she had been struggling with her identity for a long time. Pamela knew it was Satan but it did not matter how many rosaries she said; the feeling did not go away. Pamela returned back to the Dallas area in 2001 after spending fourteen months in Austin trying to escape a bad relationship. This relationship was filled with alcoholism and abuse. While in Austin, she started going to church again and had her first meeting with an organization called Act Now, a national initiative that supports community groups and organizations working together to reimagine what their communities can become. At this meeting, she was told by a man that the organization did not need “her nor her kind”. When she returned to Dallas, she began attending Cathedral of Hope, which is the largest LGBTQ serving church in the world (https://cathedralofhope.com). Pamela started to get involved even though she was hesitant since she had never attended a church of this size. In November of 2001, Pamela was talking to a friend in an American Online trans chat room. This friend, who had been one of the so-called “Screaming Queens” at the Compton’s Cafeteria riots in 1966 San Francisco, introduced Pamela to Transgender Day of Remembrance, an internatinal event held annually in November to remember and memorialize thise who are killed by anti-trans violence. Shortly after this conversation, another friend of Pamela’s who lived in Houston prompted Pamela: “You’ve got that big, beatuiful church in Dallas, how come there is not Transgender Day of Remembrance?” As a new member who did not know anybody, Pamela knew she could not make it happen that year but she committed to making it happen the following year. Pamela approached an individual at the church named Linda Freeman. She told Linda she needed to make this happen but how did she do it and who did she need to talk to? Linda suggested that Pamela talked to Reverend Mona West. Pamela asked Linda to accompany her to the meeting since she did not know Reverend West. After making the meeting and giving the pitch, Reverend West agreed they needed to make this day happen. On November 24. 2002, as a result of Pamela Curry’s advocacy and action, Cathedral of Hope hosted Dallas’s first ever Transgender Day of Remembrance. 2002 was a busy year for Pamela and her community. This was the year that Sesame Workshop, the non-profit that produces the show Sesame Street, announced they were bringing a new Muppet to their South African show, Takalani Sesame: an HIV+ muppet named Kami. This character was meant to destigmatize HIV in a region that was being decimated by AIDS. The Republican party during this time signed off on the attack of Kami which is where Pamela started her activist campaign. She wrote every Republican a letter who signed off on the attack. She also sent the same copies of the letter to PBS, Public Broadcasting Service, and Sesame Workshop. Shortly after these letters, she received a call from POZ Magazine. POZ Magazine is a magazine that shares the lives of people affected by HIV/AIDS; they also share daily news, treatment options, forums. blogs, personals. Her article appeared in POZ magazine in October of 2002 titled “Mup Roar” which started with “Did she get it from Gover? We may never find out” (https://www.poz.com/article/Mup-Roar-976-7363). News of this Muppet caused a week-long uproar, in July, in the United States. The United States Sesame Workshop announced they would not be debuting this Muppet but PBS, Pat Mitchell, said he would not permanently rule out how to tell the Muppet to get on Sesame Street. HIV positive parents in the US such as Pamela Curry of Dallas, Texas called this move to be nothing but an attempt of tactical strong-arm censorship. The article Pamela wrote for POZ magazine was her first actual action for HIV advocacy and it was defending a Muppet. A couple of months after the first TDOR Pamela got invited to a meeting at HHS which is now the AIDS Coalition of Texas. She got invited because of her article on the Muppet. Compared to her last meeting where she was told they did not need her kind, at this meeting, Pamela was told by the brother of the founder that they needed everybody so she got on the bus. In January 2003, she headed to this meeting with a poster. With this poster, Pamela gave her speech. “My name is Pamela Curry, I am a forty-five year old transsexual female, a resident of the city and county of Dallas in addition to being uh well diagnosed with HIV in 97. I’m an active member of the Cathedral of Hope, the Dallas Transgender Alliance, and I want to thank Act Now for providing the means for me to be here today. We cannot afford cuts to the Texas HIV medication program. I hope you like the visual aids provided by many of the previous speakers...” Her speech continued with information about her financials with the costs of needed medications. She explained that her social security check in 2003 was a thousand four dollars and at Tom Thumb right down the street the AZT medication was one hundred and twenty-two dollars a month, her generics was three hundred and fifty dollars a month, her norvir was one hundred and twenty-eight, my ziongin was four hundred and four. With those costs, her medications already surpassed her check. The listed expenses did not include a place to live or food to eat. Before her speech, all of the news media left then reentered during. They thought all of the individuals worth taking pictures of had already gone but they captured a photo of her holding her poster. Almost every newspaper in the state had her picture on the front page and the next week she was on the front page of The Dallas Morning News. A couple of weeks after the articles she got a call asking to be a regional coordinator for ACT NOW. Pamela still received a lot of pushback in her position because they believed they did not need her “kind”. The same man from Fort Worth that told her they did not need her kind in 1999 was upset because she went over him in position, authority, and pay. Eventually, the hostility from leadership became enough and it brought her to quit. Then she received a phone call from the executive director, legislative coordinator who replaced the individual with an alcohol problem, three days later that they wanted to take her out to eat where they asked for her back. She apologized and said that she could not because she had someone in Fort Worth who would not even work for her so they created her a new position but there was still a problem. The executive director had a drug problem that led him to be fired in 2004. On January 8th, 2005, she was at a meeting at the Marriott Hotel with Reverend Culberson, Mr. Lorenzo Sia’s -a pharmaceutical representative -from El Paso, and Dr. Amid from Houston where they created a new organization. While they were speaking about a budget, someone called them from Houston and told them they needed a capital day event but they had to change their name. They had their event, Transgender Day of Remembrance, so they changed their name to Texas Age Advocacy Coalition. Articles on the majority of all past and present TDOR events can be found on https://dallasvoice.com. In 2004, Pamela was in a patient advocacy summit in Philadelphia. They interviewed her with the question, “Why do you advocate for people?” She replied with, “It’s simple. The same reason I help anybody is because someday I may be too weak, too sick, too ill to speak for myself.” When Pamela helps any of her sisters with a document for name change, gender marker change, or anything when they always come back and ask how they could thank her. Pamela tells and encourages all to empower and help someone else! == How to Become Involved == Their website gives many options to become involved in their organization. Some of their listings even include what your money would be going to which is neat to see. One of the easiest ways to become involved is to be a member. The members range from student, scholar, librarian, curator, archivist, and historian. Student is the cheapest rate with each gradually increasing from there in value and work it can produce. For example, the student membership is thirty-five dollars and helps create one page for the archives. If someone does not want to identify themselves as a member, they can also choose to be a donor with any amount they choose. The other option that requires no money is volunteering for the organization. Money donations go towards, but not limited to, the website, invitations to events, events, video equipment, UNT, etc. == Student Activism == In an effort to further promote the Dallas Way's non-profit organization, students in the [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics course at TCU, worked collaboratively on an art and activism campaign to bring awareness to the Dallas Way non-profit organization. The campaign's mission is to push to engage the 18-24 year old demographic in the Fort Worth area and encourage Texas Christian University students to donate to the Dallas Way. * Bulleted list item '''Artist Statement: Chloe Cloud''' * Bulleted list item '''Artist Statement: Dania Kreisl''' * Bulleted list item '''Artist Statement: Jessica Schaffer''' * Bulleted list item '''Artist Statement: Ariel Wilder''' == Photos == == References == <references/> 6e82ccc01601aa0cf86bb93e78c7c2543f26e80f 767 766 2022-11-16T22:09:39Z Chloestarcloud 11 /* Student Activism */ wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == Founders == "In July of 2011, Jack Evans and George Harris proposed the idea that “someone ought to collect the GLBT history of Dallas.” On Thursday, August 25, 2011, at 4PM, Jack hosted a meeting at Resource Center Dallas where he shared his idea with 17 curious attendees, who, in turn, shared colorful stories of their own. A follow-up meeting was scheduled for Thursday, Sept 15, 2011 at 6pm in the Great Room at the ilume, located at 4123 Cedar Springs (room reservation arranged by Tony Vedda, Chairman of the North Texas GLBT Chamber of Commerce). 31 enthusiastic people attended this meeting. This informal meeting was repeated, monthly, on October 20, November 10, and December 8 of 2011. Carl Parker, who realized we needed a smaller group to meet more often than the larger monthly community group meetings, gathered Mike Anglin, Buddy Mullino, and Robert Emery, along with Jack & George." Each individual holds their own role within the organization that changes over the years due to the organization growing. Written by Robert Emery == Stories == I did an internship with this organization. While I was working with the organization, I changed two individuals' oral stories into written ones. One of the individuals I worked with was Pamela Curry. She is an individual who brought the financial side of AIDS to light. Pamela Curry; Pamela Curry is a trans woman but also an activist within her community. Her story begins with a crisis of faith and ends with Pamela holding the first Transgender Day of Remembrance (TDOR) in Dallas, Texas through the Cathedral of Hope. She grew up believing in the Catholic religion. However, when she was sitting in a lecture, she noticed this crisis of faith even though she had been struggling with her identity for a long time. Pamela knew it was Satan but it did not matter how many rosaries she said; the feeling did not go away. Pamela returned back to the Dallas area in 2001 after spending fourteen months in Austin trying to escape a bad relationship. This relationship was filled with alcoholism and abuse. While in Austin, she started going to church again and had her first meeting with an organization called Act Now, a national initiative that supports community groups and organizations working together to reimagine what their communities can become. At this meeting, she was told by a man that the organization did not need “her nor her kind”. When she returned to Dallas, she began attending Cathedral of Hope, which is the largest LGBTQ serving church in the world (https://cathedralofhope.com). Pamela started to get involved even though she was hesitant since she had never attended a church of this size. In November of 2001, Pamela was talking to a friend in an American Online trans chat room. This friend, who had been one of the so-called “Screaming Queens” at the Compton’s Cafeteria riots in 1966 San Francisco, introduced Pamela to Transgender Day of Remembrance, an internatinal event held annually in November to remember and memorialize thise who are killed by anti-trans violence. Shortly after this conversation, another friend of Pamela’s who lived in Houston prompted Pamela: “You’ve got that big, beatuiful church in Dallas, how come there is not Transgender Day of Remembrance?” As a new member who did not know anybody, Pamela knew she could not make it happen that year but she committed to making it happen the following year. Pamela approached an individual at the church named Linda Freeman. She told Linda she needed to make this happen but how did she do it and who did she need to talk to? Linda suggested that Pamela talked to Reverend Mona West. Pamela asked Linda to accompany her to the meeting since she did not know Reverend West. After making the meeting and giving the pitch, Reverend West agreed they needed to make this day happen. On November 24. 2002, as a result of Pamela Curry’s advocacy and action, Cathedral of Hope hosted Dallas’s first ever Transgender Day of Remembrance. 2002 was a busy year for Pamela and her community. This was the year that Sesame Workshop, the non-profit that produces the show Sesame Street, announced they were bringing a new Muppet to their South African show, Takalani Sesame: an HIV+ muppet named Kami. This character was meant to destigmatize HIV in a region that was being decimated by AIDS. The Republican party during this time signed off on the attack of Kami which is where Pamela started her activist campaign. She wrote every Republican a letter who signed off on the attack. She also sent the same copies of the letter to PBS, Public Broadcasting Service, and Sesame Workshop. Shortly after these letters, she received a call from POZ Magazine. POZ Magazine is a magazine that shares the lives of people affected by HIV/AIDS; they also share daily news, treatment options, forums. blogs, personals. Her article appeared in POZ magazine in October of 2002 titled “Mup Roar” which started with “Did she get it from Gover? We may never find out” (https://www.poz.com/article/Mup-Roar-976-7363). News of this Muppet caused a week-long uproar, in July, in the United States. The United States Sesame Workshop announced they would not be debuting this Muppet but PBS, Pat Mitchell, said he would not permanently rule out how to tell the Muppet to get on Sesame Street. HIV positive parents in the US such as Pamela Curry of Dallas, Texas called this move to be nothing but an attempt of tactical strong-arm censorship. The article Pamela wrote for POZ magazine was her first actual action for HIV advocacy and it was defending a Muppet. A couple of months after the first TDOR Pamela got invited to a meeting at HHS which is now the AIDS Coalition of Texas. She got invited because of her article on the Muppet. Compared to her last meeting where she was told they did not need her kind, at this meeting, Pamela was told by the brother of the founder that they needed everybody so she got on the bus. In January 2003, she headed to this meeting with a poster. With this poster, Pamela gave her speech. “My name is Pamela Curry, I am a forty-five year old transsexual female, a resident of the city and county of Dallas in addition to being uh well diagnosed with HIV in 97. I’m an active member of the Cathedral of Hope, the Dallas Transgender Alliance, and I want to thank Act Now for providing the means for me to be here today. We cannot afford cuts to the Texas HIV medication program. I hope you like the visual aids provided by many of the previous speakers...” Her speech continued with information about her financials with the costs of needed medications. She explained that her social security check in 2003 was a thousand four dollars and at Tom Thumb right down the street the AZT medication was one hundred and twenty-two dollars a month, her generics was three hundred and fifty dollars a month, her norvir was one hundred and twenty-eight, my ziongin was four hundred and four. With those costs, her medications already surpassed her check. The listed expenses did not include a place to live or food to eat. Before her speech, all of the news media left then reentered during. They thought all of the individuals worth taking pictures of had already gone but they captured a photo of her holding her poster. Almost every newspaper in the state had her picture on the front page and the next week she was on the front page of The Dallas Morning News. A couple of weeks after the articles she got a call asking to be a regional coordinator for ACT NOW. Pamela still received a lot of pushback in her position because they believed they did not need her “kind”. The same man from Fort Worth that told her they did not need her kind in 1999 was upset because she went over him in position, authority, and pay. Eventually, the hostility from leadership became enough and it brought her to quit. Then she received a phone call from the executive director, legislative coordinator who replaced the individual with an alcohol problem, three days later that they wanted to take her out to eat where they asked for her back. She apologized and said that she could not because she had someone in Fort Worth who would not even work for her so they created her a new position but there was still a problem. The executive director had a drug problem that led him to be fired in 2004. On January 8th, 2005, she was at a meeting at the Marriott Hotel with Reverend Culberson, Mr. Lorenzo Sia’s -a pharmaceutical representative -from El Paso, and Dr. Amid from Houston where they created a new organization. While they were speaking about a budget, someone called them from Houston and told them they needed a capital day event but they had to change their name. They had their event, Transgender Day of Remembrance, so they changed their name to Texas Age Advocacy Coalition. Articles on the majority of all past and present TDOR events can be found on https://dallasvoice.com. In 2004, Pamela was in a patient advocacy summit in Philadelphia. They interviewed her with the question, “Why do you advocate for people?” She replied with, “It’s simple. The same reason I help anybody is because someday I may be too weak, too sick, too ill to speak for myself.” When Pamela helps any of her sisters with a document for name change, gender marker change, or anything when they always come back and ask how they could thank her. Pamela tells and encourages all to empower and help someone else! == How to Become Involved == Their website gives many options to become involved in their organization. Some of their listings even include what your money would be going to which is neat to see. One of the easiest ways to become involved is to be a member. The members range from student, scholar, librarian, curator, archivist, and historian. Student is the cheapest rate with each gradually increasing from there in value and work it can produce. For example, the student membership is thirty-five dollars and helps create one page for the archives. If someone does not want to identify themselves as a member, they can also choose to be a donor with any amount they choose. The other option that requires no money is volunteering for the organization. Money donations go towards, but not limited to, the website, invitations to events, events, video equipment, UNT, etc. == Student Activism == In an effort to further promote the Dallas Way's non-profit organization, students in the [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics course at TCU, worked collaboratively on an art and activism campaign to bring awareness to the Dallas Way non-profit organization. The campaign's mission is to push to engage the 18-24 year old demographic in the Fort Worth area and encourage Texas Christian University students to donate to the Dallas Way. '''Artist Statement: Chloe Cloud''' * Bulleted list item '''Artist Statement: Dania Kreisl''' * Bulleted list item '''Artist Statement: Jessica Schaffer''' * Bulleted list item '''Artist Statement: Ariel Wilder''' * Bulleted list item == Photos == == References == <references/> 8a08db379c7de93751895bcdec69155580dfeb34 768 767 2022-11-16T22:11:43Z Dkreisl 20 /* Student Activism */ wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == Founders == "In July of 2011, Jack Evans and George Harris proposed the idea that “someone ought to collect the GLBT history of Dallas.” On Thursday, August 25, 2011, at 4PM, Jack hosted a meeting at Resource Center Dallas where he shared his idea with 17 curious attendees, who, in turn, shared colorful stories of their own. A follow-up meeting was scheduled for Thursday, Sept 15, 2011 at 6pm in the Great Room at the ilume, located at 4123 Cedar Springs (room reservation arranged by Tony Vedda, Chairman of the North Texas GLBT Chamber of Commerce). 31 enthusiastic people attended this meeting. This informal meeting was repeated, monthly, on October 20, November 10, and December 8 of 2011. Carl Parker, who realized we needed a smaller group to meet more often than the larger monthly community group meetings, gathered Mike Anglin, Buddy Mullino, and Robert Emery, along with Jack & George." Each individual holds their own role within the organization that changes over the years due to the organization growing. Written by Robert Emery == Stories == I did an internship with this organization. While I was working with the organization, I changed two individuals' oral stories into written ones. One of the individuals I worked with was Pamela Curry. She is an individual who brought the financial side of AIDS to light. Pamela Curry; Pamela Curry is a trans woman but also an activist within her community. Her story begins with a crisis of faith and ends with Pamela holding the first Transgender Day of Remembrance (TDOR) in Dallas, Texas through the Cathedral of Hope. She grew up believing in the Catholic religion. However, when she was sitting in a lecture, she noticed this crisis of faith even though she had been struggling with her identity for a long time. Pamela knew it was Satan but it did not matter how many rosaries she said; the feeling did not go away. Pamela returned back to the Dallas area in 2001 after spending fourteen months in Austin trying to escape a bad relationship. This relationship was filled with alcoholism and abuse. While in Austin, she started going to church again and had her first meeting with an organization called Act Now, a national initiative that supports community groups and organizations working together to reimagine what their communities can become. At this meeting, she was told by a man that the organization did not need “her nor her kind”. When she returned to Dallas, she began attending Cathedral of Hope, which is the largest LGBTQ serving church in the world (https://cathedralofhope.com). Pamela started to get involved even though she was hesitant since she had never attended a church of this size. In November of 2001, Pamela was talking to a friend in an American Online trans chat room. This friend, who had been one of the so-called “Screaming Queens” at the Compton’s Cafeteria riots in 1966 San Francisco, introduced Pamela to Transgender Day of Remembrance, an internatinal event held annually in November to remember and memorialize thise who are killed by anti-trans violence. Shortly after this conversation, another friend of Pamela’s who lived in Houston prompted Pamela: “You’ve got that big, beatuiful church in Dallas, how come there is not Transgender Day of Remembrance?” As a new member who did not know anybody, Pamela knew she could not make it happen that year but she committed to making it happen the following year. Pamela approached an individual at the church named Linda Freeman. She told Linda she needed to make this happen but how did she do it and who did she need to talk to? Linda suggested that Pamela talked to Reverend Mona West. Pamela asked Linda to accompany her to the meeting since she did not know Reverend West. After making the meeting and giving the pitch, Reverend West agreed they needed to make this day happen. On November 24. 2002, as a result of Pamela Curry’s advocacy and action, Cathedral of Hope hosted Dallas’s first ever Transgender Day of Remembrance. 2002 was a busy year for Pamela and her community. This was the year that Sesame Workshop, the non-profit that produces the show Sesame Street, announced they were bringing a new Muppet to their South African show, Takalani Sesame: an HIV+ muppet named Kami. This character was meant to destigmatize HIV in a region that was being decimated by AIDS. The Republican party during this time signed off on the attack of Kami which is where Pamela started her activist campaign. She wrote every Republican a letter who signed off on the attack. She also sent the same copies of the letter to PBS, Public Broadcasting Service, and Sesame Workshop. Shortly after these letters, she received a call from POZ Magazine. POZ Magazine is a magazine that shares the lives of people affected by HIV/AIDS; they also share daily news, treatment options, forums. blogs, personals. Her article appeared in POZ magazine in October of 2002 titled “Mup Roar” which started with “Did she get it from Gover? We may never find out” (https://www.poz.com/article/Mup-Roar-976-7363). News of this Muppet caused a week-long uproar, in July, in the United States. The United States Sesame Workshop announced they would not be debuting this Muppet but PBS, Pat Mitchell, said he would not permanently rule out how to tell the Muppet to get on Sesame Street. HIV positive parents in the US such as Pamela Curry of Dallas, Texas called this move to be nothing but an attempt of tactical strong-arm censorship. The article Pamela wrote for POZ magazine was her first actual action for HIV advocacy and it was defending a Muppet. A couple of months after the first TDOR Pamela got invited to a meeting at HHS which is now the AIDS Coalition of Texas. She got invited because of her article on the Muppet. Compared to her last meeting where she was told they did not need her kind, at this meeting, Pamela was told by the brother of the founder that they needed everybody so she got on the bus. In January 2003, she headed to this meeting with a poster. With this poster, Pamela gave her speech. “My name is Pamela Curry, I am a forty-five year old transsexual female, a resident of the city and county of Dallas in addition to being uh well diagnosed with HIV in 97. I’m an active member of the Cathedral of Hope, the Dallas Transgender Alliance, and I want to thank Act Now for providing the means for me to be here today. We cannot afford cuts to the Texas HIV medication program. I hope you like the visual aids provided by many of the previous speakers...” Her speech continued with information about her financials with the costs of needed medications. She explained that her social security check in 2003 was a thousand four dollars and at Tom Thumb right down the street the AZT medication was one hundred and twenty-two dollars a month, her generics was three hundred and fifty dollars a month, her norvir was one hundred and twenty-eight, my ziongin was four hundred and four. With those costs, her medications already surpassed her check. The listed expenses did not include a place to live or food to eat. Before her speech, all of the news media left then reentered during. They thought all of the individuals worth taking pictures of had already gone but they captured a photo of her holding her poster. Almost every newspaper in the state had her picture on the front page and the next week she was on the front page of The Dallas Morning News. A couple of weeks after the articles she got a call asking to be a regional coordinator for ACT NOW. Pamela still received a lot of pushback in her position because they believed they did not need her “kind”. The same man from Fort Worth that told her they did not need her kind in 1999 was upset because she went over him in position, authority, and pay. Eventually, the hostility from leadership became enough and it brought her to quit. Then she received a phone call from the executive director, legislative coordinator who replaced the individual with an alcohol problem, three days later that they wanted to take her out to eat where they asked for her back. She apologized and said that she could not because she had someone in Fort Worth who would not even work for her so they created her a new position but there was still a problem. The executive director had a drug problem that led him to be fired in 2004. On January 8th, 2005, she was at a meeting at the Marriott Hotel with Reverend Culberson, Mr. Lorenzo Sia’s -a pharmaceutical representative -from El Paso, and Dr. Amid from Houston where they created a new organization. While they were speaking about a budget, someone called them from Houston and told them they needed a capital day event but they had to change their name. They had their event, Transgender Day of Remembrance, so they changed their name to Texas Age Advocacy Coalition. Articles on the majority of all past and present TDOR events can be found on https://dallasvoice.com. In 2004, Pamela was in a patient advocacy summit in Philadelphia. They interviewed her with the question, “Why do you advocate for people?” She replied with, “It’s simple. The same reason I help anybody is because someday I may be too weak, too sick, too ill to speak for myself.” When Pamela helps any of her sisters with a document for name change, gender marker change, or anything when they always come back and ask how they could thank her. Pamela tells and encourages all to empower and help someone else! == How to Become Involved == Their website gives many options to become involved in their organization. Some of their listings even include what your money would be going to which is neat to see. One of the easiest ways to become involved is to be a member. The members range from student, scholar, librarian, curator, archivist, and historian. Student is the cheapest rate with each gradually increasing from there in value and work it can produce. For example, the student membership is thirty-five dollars and helps create one page for the archives. If someone does not want to identify themselves as a member, they can also choose to be a donor with any amount they choose. The other option that requires no money is volunteering for the organization. Money donations go towards, but not limited to, the website, invitations to events, events, video equipment, UNT, etc. == Student Activism == In an effort to further promote the Dallas Way's non-profit organization, students in the [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics course at TCU, worked collaboratively on an art and activism campaign to bring awareness to the Dallas Way non-profit organization. The campaign's mission is to push to engage the 18-24 year old demographic in the Fort Worth area and encourage Texas Christian University students to donate to the Dallas Way. '''Artist Statement: Chloe Cloud''' * Bulleted list item '''Artist Statement: Dania Kreisl''' * For my art, I created a poster with information on becoming a scholar at The Dallas Way. I provided background information on The Dallas Way and why the organization is important to those of the LGBTQ community and their impact on keeping the history of this community in this area alive for others to learn about. I created a QR code that takes you to the page to learn more about donating to become a scholar and what all that means and the act of being able to donate. I used bright colors and an interesting font for the title of the poster to grab people’s attention and draw them in to really take in what the poster is saying. I kept the art simple to allow the attention to be drawn into more as to what the words are saying not just pictures. '''Artist Statement: Jessica Schaffer''' * Bulleted list item '''Artist Statement: Ariel Wilder''' * Bulleted list item == Photos == == References == <references/> 5f34ec5baefff66b3b430c16871999760e310dab 770 768 2022-11-16T22:17:08Z Dkreisl 20 wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == Founders == "In July of 2011, Jack Evans and George Harris proposed the idea that “someone ought to collect the GLBT history of Dallas.” On Thursday, August 25, 2011, at 4PM, Jack hosted a meeting at Resource Center Dallas where he shared his idea with 17 curious attendees, who, in turn, shared colorful stories of their own. A follow-up meeting was scheduled for Thursday, Sept 15, 2011 at 6pm in the Great Room at the ilume, located at 4123 Cedar Springs (room reservation arranged by Tony Vedda, Chairman of the North Texas GLBT Chamber of Commerce). 31 enthusiastic people attended this meeting. This informal meeting was repeated, monthly, on October 20, November 10, and December 8 of 2011. Carl Parker, who realized we needed a smaller group to meet more often than the larger monthly community group meetings, gathered Mike Anglin, Buddy Mullino, and Robert Emery, along with Jack & George." Each individual holds their own role within the organization that changes over the years due to the organization growing. Written by Robert Emery == Stories == I did an internship with this organization. While I was working with the organization, I changed two individuals' oral stories into written ones. One of the individuals I worked with was Pamela Curry. She is an individual who brought the financial side of AIDS to light. Pamela Curry; Pamela Curry is a trans woman but also an activist within her community. Her story begins with a crisis of faith and ends with Pamela holding the first Transgender Day of Remembrance (TDOR) in Dallas, Texas through the Cathedral of Hope. She grew up believing in the Catholic religion. However, when she was sitting in a lecture, she noticed this crisis of faith even though she had been struggling with her identity for a long time. Pamela knew it was Satan but it did not matter how many rosaries she said; the feeling did not go away. Pamela returned back to the Dallas area in 2001 after spending fourteen months in Austin trying to escape a bad relationship. This relationship was filled with alcoholism and abuse. While in Austin, she started going to church again and had her first meeting with an organization called Act Now, a national initiative that supports community groups and organizations working together to reimagine what their communities can become. At this meeting, she was told by a man that the organization did not need “her nor her kind”. When she returned to Dallas, she began attending Cathedral of Hope, which is the largest LGBTQ serving church in the world (https://cathedralofhope.com). Pamela started to get involved even though she was hesitant since she had never attended a church of this size. In November of 2001, Pamela was talking to a friend in an American Online trans chat room. This friend, who had been one of the so-called “Screaming Queens” at the Compton’s Cafeteria riots in 1966 San Francisco, introduced Pamela to Transgender Day of Remembrance, an internatinal event held annually in November to remember and memorialize thise who are killed by anti-trans violence. Shortly after this conversation, another friend of Pamela’s who lived in Houston prompted Pamela: “You’ve got that big, beatuiful church in Dallas, how come there is not Transgender Day of Remembrance?” As a new member who did not know anybody, Pamela knew she could not make it happen that year but she committed to making it happen the following year. Pamela approached an individual at the church named Linda Freeman. She told Linda she needed to make this happen but how did she do it and who did she need to talk to? Linda suggested that Pamela talked to Reverend Mona West. Pamela asked Linda to accompany her to the meeting since she did not know Reverend West. After making the meeting and giving the pitch, Reverend West agreed they needed to make this day happen. On November 24. 2002, as a result of Pamela Curry’s advocacy and action, Cathedral of Hope hosted Dallas’s first ever Transgender Day of Remembrance. 2002 was a busy year for Pamela and her community. This was the year that Sesame Workshop, the non-profit that produces the show Sesame Street, announced they were bringing a new Muppet to their South African show, Takalani Sesame: an HIV+ muppet named Kami. This character was meant to destigmatize HIV in a region that was being decimated by AIDS. The Republican party during this time signed off on the attack of Kami which is where Pamela started her activist campaign. She wrote every Republican a letter who signed off on the attack. She also sent the same copies of the letter to PBS, Public Broadcasting Service, and Sesame Workshop. Shortly after these letters, she received a call from POZ Magazine. POZ Magazine is a magazine that shares the lives of people affected by HIV/AIDS; they also share daily news, treatment options, forums. blogs, personals. Her article appeared in POZ magazine in October of 2002 titled “Mup Roar” which started with “Did she get it from Gover? We may never find out” (https://www.poz.com/article/Mup-Roar-976-7363). News of this Muppet caused a week-long uproar, in July, in the United States. The United States Sesame Workshop announced they would not be debuting this Muppet but PBS, Pat Mitchell, said he would not permanently rule out how to tell the Muppet to get on Sesame Street. HIV positive parents in the US such as Pamela Curry of Dallas, Texas called this move to be nothing but an attempt of tactical strong-arm censorship. The article Pamela wrote for POZ magazine was her first actual action for HIV advocacy and it was defending a Muppet. A couple of months after the first TDOR Pamela got invited to a meeting at HHS which is now the AIDS Coalition of Texas. She got invited because of her article on the Muppet. Compared to her last meeting where she was told they did not need her kind, at this meeting, Pamela was told by the brother of the founder that they needed everybody so she got on the bus. In January 2003, she headed to this meeting with a poster. With this poster, Pamela gave her speech. “My name is Pamela Curry, I am a forty-five year old transsexual female, a resident of the city and county of Dallas in addition to being uh well diagnosed with HIV in 97. I’m an active member of the Cathedral of Hope, the Dallas Transgender Alliance, and I want to thank Act Now for providing the means for me to be here today. We cannot afford cuts to the Texas HIV medication program. I hope you like the visual aids provided by many of the previous speakers...” Her speech continued with information about her financials with the costs of needed medications. She explained that her social security check in 2003 was a thousand four dollars and at Tom Thumb right down the street the AZT medication was one hundred and twenty-two dollars a month, her generics was three hundred and fifty dollars a month, her norvir was one hundred and twenty-eight, my ziongin was four hundred and four. With those costs, her medications already surpassed her check. The listed expenses did not include a place to live or food to eat. Before her speech, all of the news media left then reentered during. They thought all of the individuals worth taking pictures of had already gone but they captured a photo of her holding her poster. Almost every newspaper in the state had her picture on the front page and the next week she was on the front page of The Dallas Morning News. A couple of weeks after the articles she got a call asking to be a regional coordinator for ACT NOW. Pamela still received a lot of pushback in her position because they believed they did not need her “kind”. The same man from Fort Worth that told her they did not need her kind in 1999 was upset because she went over him in position, authority, and pay. Eventually, the hostility from leadership became enough and it brought her to quit. Then she received a phone call from the executive director, legislative coordinator who replaced the individual with an alcohol problem, three days later that they wanted to take her out to eat where they asked for her back. She apologized and said that she could not because she had someone in Fort Worth who would not even work for her so they created her a new position but there was still a problem. The executive director had a drug problem that led him to be fired in 2004. On January 8th, 2005, she was at a meeting at the Marriott Hotel with Reverend Culberson, Mr. Lorenzo Sia’s -a pharmaceutical representative -from El Paso, and Dr. Amid from Houston where they created a new organization. While they were speaking about a budget, someone called them from Houston and told them they needed a capital day event but they had to change their name. They had their event, Transgender Day of Remembrance, so they changed their name to Texas Age Advocacy Coalition. Articles on the majority of all past and present TDOR events can be found on https://dallasvoice.com. In 2004, Pamela was in a patient advocacy summit in Philadelphia. They interviewed her with the question, “Why do you advocate for people?” She replied with, “It’s simple. The same reason I help anybody is because someday I may be too weak, too sick, too ill to speak for myself.” When Pamela helps any of her sisters with a document for name change, gender marker change, or anything when they always come back and ask how they could thank her. Pamela tells and encourages all to empower and help someone else! == How to Become Involved == Their website gives many options to become involved in their organization. Some of their listings even include what your money would be going to which is neat to see. One of the easiest ways to become involved is to be a member. The members range from student, scholar, librarian, curator, archivist, and historian. Student is the cheapest rate with each gradually increasing from there in value and work it can produce. For example, the student membership is thirty-five dollars and helps create one page for the archives. If someone does not want to identify themselves as a member, they can also choose to be a donor with any amount they choose. The other option that requires no money is volunteering for the organization. Money donations go towards, but not limited to, the website, invitations to events, events, video equipment, UNT, etc. == Student Activism == In an effort to further promote the Dallas Way's non-profit organization, students in the [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics course at TCU, worked collaboratively on an art and activism campaign to bring awareness to the Dallas Way non-profit organization. The campaign's mission is to push to engage the 18-24 year old demographic in the Fort Worth area and encourage Texas Christian University students to donate to the Dallas Way. '''Artist Statement: Chloe Cloud''' * Bulleted list item [[File:Dallas Way Activism Poster.jpg|thumb]] '''Artist Statement: Dania Kreisl''' * For my art, I created a poster with information on becoming a scholar at The Dallas Way. I provided background information on The Dallas Way and why the organization is important to those of the LGBTQ community and their impact on keeping the history of this community in this area alive for others to learn about. I created a QR code that takes you to the page to learn more about donating to become a scholar and what all that means and the act of being able to donate. I used bright colors and an interesting font for the title of the poster to grab people’s attention and draw them in to really take in what the poster is saying. I kept the art simple to allow the attention to be drawn into more as to what the words are saying not just pictures. '''Artist Statement: Jessica Schaffer''' * Bulleted list item '''Artist Statement: Ariel Wilder''' * Bulleted list item == Photos == == References == <references/> 00a6225b68f676d1dcf34d6ffe53c68cff50653e 798 770 2022-12-05T22:20:18Z 138.237.15.4 0 /* Student Activism */ wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == Founders == "In July of 2011, Jack Evans and George Harris proposed the idea that “someone ought to collect the GLBT history of Dallas.” On Thursday, August 25, 2011, at 4PM, Jack hosted a meeting at Resource Center Dallas where he shared his idea with 17 curious attendees, who, in turn, shared colorful stories of their own. A follow-up meeting was scheduled for Thursday, Sept 15, 2011 at 6pm in the Great Room at the ilume, located at 4123 Cedar Springs (room reservation arranged by Tony Vedda, Chairman of the North Texas GLBT Chamber of Commerce). 31 enthusiastic people attended this meeting. This informal meeting was repeated, monthly, on October 20, November 10, and December 8 of 2011. Carl Parker, who realized we needed a smaller group to meet more often than the larger monthly community group meetings, gathered Mike Anglin, Buddy Mullino, and Robert Emery, along with Jack & George." Each individual holds their own role within the organization that changes over the years due to the organization growing. Written by Robert Emery == Stories == I did an internship with this organization. While I was working with the organization, I changed two individuals' oral stories into written ones. One of the individuals I worked with was Pamela Curry. She is an individual who brought the financial side of AIDS to light. Pamela Curry; Pamela Curry is a trans woman but also an activist within her community. Her story begins with a crisis of faith and ends with Pamela holding the first Transgender Day of Remembrance (TDOR) in Dallas, Texas through the Cathedral of Hope. She grew up believing in the Catholic religion. However, when she was sitting in a lecture, she noticed this crisis of faith even though she had been struggling with her identity for a long time. Pamela knew it was Satan but it did not matter how many rosaries she said; the feeling did not go away. Pamela returned back to the Dallas area in 2001 after spending fourteen months in Austin trying to escape a bad relationship. This relationship was filled with alcoholism and abuse. While in Austin, she started going to church again and had her first meeting with an organization called Act Now, a national initiative that supports community groups and organizations working together to reimagine what their communities can become. At this meeting, she was told by a man that the organization did not need “her nor her kind”. When she returned to Dallas, she began attending Cathedral of Hope, which is the largest LGBTQ serving church in the world (https://cathedralofhope.com). Pamela started to get involved even though she was hesitant since she had never attended a church of this size. In November of 2001, Pamela was talking to a friend in an American Online trans chat room. This friend, who had been one of the so-called “Screaming Queens” at the Compton’s Cafeteria riots in 1966 San Francisco, introduced Pamela to Transgender Day of Remembrance, an internatinal event held annually in November to remember and memorialize thise who are killed by anti-trans violence. Shortly after this conversation, another friend of Pamela’s who lived in Houston prompted Pamela: “You’ve got that big, beatuiful church in Dallas, how come there is not Transgender Day of Remembrance?” As a new member who did not know anybody, Pamela knew she could not make it happen that year but she committed to making it happen the following year. Pamela approached an individual at the church named Linda Freeman. She told Linda she needed to make this happen but how did she do it and who did she need to talk to? Linda suggested that Pamela talked to Reverend Mona West. Pamela asked Linda to accompany her to the meeting since she did not know Reverend West. After making the meeting and giving the pitch, Reverend West agreed they needed to make this day happen. On November 24. 2002, as a result of Pamela Curry’s advocacy and action, Cathedral of Hope hosted Dallas’s first ever Transgender Day of Remembrance. 2002 was a busy year for Pamela and her community. This was the year that Sesame Workshop, the non-profit that produces the show Sesame Street, announced they were bringing a new Muppet to their South African show, Takalani Sesame: an HIV+ muppet named Kami. This character was meant to destigmatize HIV in a region that was being decimated by AIDS. The Republican party during this time signed off on the attack of Kami which is where Pamela started her activist campaign. She wrote every Republican a letter who signed off on the attack. She also sent the same copies of the letter to PBS, Public Broadcasting Service, and Sesame Workshop. Shortly after these letters, she received a call from POZ Magazine. POZ Magazine is a magazine that shares the lives of people affected by HIV/AIDS; they also share daily news, treatment options, forums. blogs, personals. Her article appeared in POZ magazine in October of 2002 titled “Mup Roar” which started with “Did she get it from Gover? We may never find out” (https://www.poz.com/article/Mup-Roar-976-7363). News of this Muppet caused a week-long uproar, in July, in the United States. The United States Sesame Workshop announced they would not be debuting this Muppet but PBS, Pat Mitchell, said he would not permanently rule out how to tell the Muppet to get on Sesame Street. HIV positive parents in the US such as Pamela Curry of Dallas, Texas called this move to be nothing but an attempt of tactical strong-arm censorship. The article Pamela wrote for POZ magazine was her first actual action for HIV advocacy and it was defending a Muppet. A couple of months after the first TDOR Pamela got invited to a meeting at HHS which is now the AIDS Coalition of Texas. She got invited because of her article on the Muppet. Compared to her last meeting where she was told they did not need her kind, at this meeting, Pamela was told by the brother of the founder that they needed everybody so she got on the bus. In January 2003, she headed to this meeting with a poster. With this poster, Pamela gave her speech. “My name is Pamela Curry, I am a forty-five year old transsexual female, a resident of the city and county of Dallas in addition to being uh well diagnosed with HIV in 97. I’m an active member of the Cathedral of Hope, the Dallas Transgender Alliance, and I want to thank Act Now for providing the means for me to be here today. We cannot afford cuts to the Texas HIV medication program. I hope you like the visual aids provided by many of the previous speakers...” Her speech continued with information about her financials with the costs of needed medications. She explained that her social security check in 2003 was a thousand four dollars and at Tom Thumb right down the street the AZT medication was one hundred and twenty-two dollars a month, her generics was three hundred and fifty dollars a month, her norvir was one hundred and twenty-eight, my ziongin was four hundred and four. With those costs, her medications already surpassed her check. The listed expenses did not include a place to live or food to eat. Before her speech, all of the news media left then reentered during. They thought all of the individuals worth taking pictures of had already gone but they captured a photo of her holding her poster. Almost every newspaper in the state had her picture on the front page and the next week she was on the front page of The Dallas Morning News. A couple of weeks after the articles she got a call asking to be a regional coordinator for ACT NOW. Pamela still received a lot of pushback in her position because they believed they did not need her “kind”. The same man from Fort Worth that told her they did not need her kind in 1999 was upset because she went over him in position, authority, and pay. Eventually, the hostility from leadership became enough and it brought her to quit. Then she received a phone call from the executive director, legislative coordinator who replaced the individual with an alcohol problem, three days later that they wanted to take her out to eat where they asked for her back. She apologized and said that she could not because she had someone in Fort Worth who would not even work for her so they created her a new position but there was still a problem. The executive director had a drug problem that led him to be fired in 2004. On January 8th, 2005, she was at a meeting at the Marriott Hotel with Reverend Culberson, Mr. Lorenzo Sia’s -a pharmaceutical representative -from El Paso, and Dr. Amid from Houston where they created a new organization. While they were speaking about a budget, someone called them from Houston and told them they needed a capital day event but they had to change their name. They had their event, Transgender Day of Remembrance, so they changed their name to Texas Age Advocacy Coalition. Articles on the majority of all past and present TDOR events can be found on https://dallasvoice.com. In 2004, Pamela was in a patient advocacy summit in Philadelphia. They interviewed her with the question, “Why do you advocate for people?” She replied with, “It’s simple. The same reason I help anybody is because someday I may be too weak, too sick, too ill to speak for myself.” When Pamela helps any of her sisters with a document for name change, gender marker change, or anything when they always come back and ask how they could thank her. Pamela tells and encourages all to empower and help someone else! == How to Become Involved == Their website gives many options to become involved in their organization. Some of their listings even include what your money would be going to which is neat to see. One of the easiest ways to become involved is to be a member. The members range from student, scholar, librarian, curator, archivist, and historian. Student is the cheapest rate with each gradually increasing from there in value and work it can produce. For example, the student membership is thirty-five dollars and helps create one page for the archives. If someone does not want to identify themselves as a member, they can also choose to be a donor with any amount they choose. The other option that requires no money is volunteering for the organization. Money donations go towards, but not limited to, the website, invitations to events, events, video equipment, UNT, etc. == Student Activism == In an effort to further promote the Dallas Way's non-profit organization, students in the [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics course at TCU, worked collaboratively on an art and activism campaign to bring awareness to the Dallas Way non-profit organization. The campaign's mission is to push to engage the 18-24 year old demographic in the Fort Worth area and encourage Texas Christian University students to donate to the Dallas Way. '''Artist Statement: Chloe Cloud''' * Bulleted list item [[File:Dallas Way Activism Poster.jpg|thumb]] '''Artist Statement: Dania Kreisl''' * For my art, I created a poster with information on becoming a scholar at The Dallas Way. I provided background information on The Dallas Way and why the organization is important to those of the LGBTQ community and their impact on keeping the history of this community in this area alive for others to learn about. I created a QR code that takes you to the page to learn more about donating to become a scholar and what all that means and the act of being able to donate. I used bright colors and an interesting font for the title of the poster to grab people’s attention and draw them in to really take in what the poster is saying. I kept the art simple to allow the attention to be drawn into more as to what the words are saying not just pictures. '''Artist Statement: Jessica Schaffer''' * We decided as a group to design posters to promote The Dallas Way to the public. For my specific artwork, I wanted to focus on how the public can get involved in supporting The Dallas Way through volunteering. In my poster, I included the a list of benefits of volunteering at The Dallas Way. I noted that contributing to this important cause is a great way to make a difference in the LGBTQ community in Dallas, TX. I also included The Dallas Way's mission statement on the poster to give information about the magazine to promote involvement. In the overall design of the poster, I wanted to show The Dallas Way's logo, displayed on an ipad graphic, to entice the public to get involved and volunteer. Lastly, I included a QR code that is linked to the volunteer page that way it is easy for the public to access the volunteer page on The Dallas Way's website. '''Artist Statement: Ariel Wilder''' * Bulleted list item == Photos == == References == <references/> daf9bc807ad04e46359806d900c2ecff39d0bc38 799 798 2022-12-05T22:20:44Z 138.237.15.4 0 /* Student Activism */ wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == Founders == "In July of 2011, Jack Evans and George Harris proposed the idea that “someone ought to collect the GLBT history of Dallas.” On Thursday, August 25, 2011, at 4PM, Jack hosted a meeting at Resource Center Dallas where he shared his idea with 17 curious attendees, who, in turn, shared colorful stories of their own. A follow-up meeting was scheduled for Thursday, Sept 15, 2011 at 6pm in the Great Room at the ilume, located at 4123 Cedar Springs (room reservation arranged by Tony Vedda, Chairman of the North Texas GLBT Chamber of Commerce). 31 enthusiastic people attended this meeting. This informal meeting was repeated, monthly, on October 20, November 10, and December 8 of 2011. Carl Parker, who realized we needed a smaller group to meet more often than the larger monthly community group meetings, gathered Mike Anglin, Buddy Mullino, and Robert Emery, along with Jack & George." Each individual holds their own role within the organization that changes over the years due to the organization growing. Written by Robert Emery == Stories == I did an internship with this organization. While I was working with the organization, I changed two individuals' oral stories into written ones. One of the individuals I worked with was Pamela Curry. She is an individual who brought the financial side of AIDS to light. Pamela Curry; Pamela Curry is a trans woman but also an activist within her community. Her story begins with a crisis of faith and ends with Pamela holding the first Transgender Day of Remembrance (TDOR) in Dallas, Texas through the Cathedral of Hope. She grew up believing in the Catholic religion. However, when she was sitting in a lecture, she noticed this crisis of faith even though she had been struggling with her identity for a long time. Pamela knew it was Satan but it did not matter how many rosaries she said; the feeling did not go away. Pamela returned back to the Dallas area in 2001 after spending fourteen months in Austin trying to escape a bad relationship. This relationship was filled with alcoholism and abuse. While in Austin, she started going to church again and had her first meeting with an organization called Act Now, a national initiative that supports community groups and organizations working together to reimagine what their communities can become. At this meeting, she was told by a man that the organization did not need “her nor her kind”. When she returned to Dallas, she began attending Cathedral of Hope, which is the largest LGBTQ serving church in the world (https://cathedralofhope.com). Pamela started to get involved even though she was hesitant since she had never attended a church of this size. In November of 2001, Pamela was talking to a friend in an American Online trans chat room. This friend, who had been one of the so-called “Screaming Queens” at the Compton’s Cafeteria riots in 1966 San Francisco, introduced Pamela to Transgender Day of Remembrance, an internatinal event held annually in November to remember and memorialize thise who are killed by anti-trans violence. Shortly after this conversation, another friend of Pamela’s who lived in Houston prompted Pamela: “You’ve got that big, beatuiful church in Dallas, how come there is not Transgender Day of Remembrance?” As a new member who did not know anybody, Pamela knew she could not make it happen that year but she committed to making it happen the following year. Pamela approached an individual at the church named Linda Freeman. She told Linda she needed to make this happen but how did she do it and who did she need to talk to? Linda suggested that Pamela talked to Reverend Mona West. Pamela asked Linda to accompany her to the meeting since she did not know Reverend West. After making the meeting and giving the pitch, Reverend West agreed they needed to make this day happen. On November 24. 2002, as a result of Pamela Curry’s advocacy and action, Cathedral of Hope hosted Dallas’s first ever Transgender Day of Remembrance. 2002 was a busy year for Pamela and her community. This was the year that Sesame Workshop, the non-profit that produces the show Sesame Street, announced they were bringing a new Muppet to their South African show, Takalani Sesame: an HIV+ muppet named Kami. This character was meant to destigmatize HIV in a region that was being decimated by AIDS. The Republican party during this time signed off on the attack of Kami which is where Pamela started her activist campaign. She wrote every Republican a letter who signed off on the attack. She also sent the same copies of the letter to PBS, Public Broadcasting Service, and Sesame Workshop. Shortly after these letters, she received a call from POZ Magazine. POZ Magazine is a magazine that shares the lives of people affected by HIV/AIDS; they also share daily news, treatment options, forums. blogs, personals. Her article appeared in POZ magazine in October of 2002 titled “Mup Roar” which started with “Did she get it from Gover? We may never find out” (https://www.poz.com/article/Mup-Roar-976-7363). News of this Muppet caused a week-long uproar, in July, in the United States. The United States Sesame Workshop announced they would not be debuting this Muppet but PBS, Pat Mitchell, said he would not permanently rule out how to tell the Muppet to get on Sesame Street. HIV positive parents in the US such as Pamela Curry of Dallas, Texas called this move to be nothing but an attempt of tactical strong-arm censorship. The article Pamela wrote for POZ magazine was her first actual action for HIV advocacy and it was defending a Muppet. A couple of months after the first TDOR Pamela got invited to a meeting at HHS which is now the AIDS Coalition of Texas. She got invited because of her article on the Muppet. Compared to her last meeting where she was told they did not need her kind, at this meeting, Pamela was told by the brother of the founder that they needed everybody so she got on the bus. In January 2003, she headed to this meeting with a poster. With this poster, Pamela gave her speech. “My name is Pamela Curry, I am a forty-five year old transsexual female, a resident of the city and county of Dallas in addition to being uh well diagnosed with HIV in 97. I’m an active member of the Cathedral of Hope, the Dallas Transgender Alliance, and I want to thank Act Now for providing the means for me to be here today. We cannot afford cuts to the Texas HIV medication program. I hope you like the visual aids provided by many of the previous speakers...” Her speech continued with information about her financials with the costs of needed medications. She explained that her social security check in 2003 was a thousand four dollars and at Tom Thumb right down the street the AZT medication was one hundred and twenty-two dollars a month, her generics was three hundred and fifty dollars a month, her norvir was one hundred and twenty-eight, my ziongin was four hundred and four. With those costs, her medications already surpassed her check. The listed expenses did not include a place to live or food to eat. Before her speech, all of the news media left then reentered during. They thought all of the individuals worth taking pictures of had already gone but they captured a photo of her holding her poster. Almost every newspaper in the state had her picture on the front page and the next week she was on the front page of The Dallas Morning News. A couple of weeks after the articles she got a call asking to be a regional coordinator for ACT NOW. Pamela still received a lot of pushback in her position because they believed they did not need her “kind”. The same man from Fort Worth that told her they did not need her kind in 1999 was upset because she went over him in position, authority, and pay. Eventually, the hostility from leadership became enough and it brought her to quit. Then she received a phone call from the executive director, legislative coordinator who replaced the individual with an alcohol problem, three days later that they wanted to take her out to eat where they asked for her back. She apologized and said that she could not because she had someone in Fort Worth who would not even work for her so they created her a new position but there was still a problem. The executive director had a drug problem that led him to be fired in 2004. On January 8th, 2005, she was at a meeting at the Marriott Hotel with Reverend Culberson, Mr. Lorenzo Sia’s -a pharmaceutical representative -from El Paso, and Dr. Amid from Houston where they created a new organization. While they were speaking about a budget, someone called them from Houston and told them they needed a capital day event but they had to change their name. They had their event, Transgender Day of Remembrance, so they changed their name to Texas Age Advocacy Coalition. Articles on the majority of all past and present TDOR events can be found on https://dallasvoice.com. In 2004, Pamela was in a patient advocacy summit in Philadelphia. They interviewed her with the question, “Why do you advocate for people?” She replied with, “It’s simple. The same reason I help anybody is because someday I may be too weak, too sick, too ill to speak for myself.” When Pamela helps any of her sisters with a document for name change, gender marker change, or anything when they always come back and ask how they could thank her. Pamela tells and encourages all to empower and help someone else! == How to Become Involved == Their website gives many options to become involved in their organization. Some of their listings even include what your money would be going to which is neat to see. One of the easiest ways to become involved is to be a member. The members range from student, scholar, librarian, curator, archivist, and historian. Student is the cheapest rate with each gradually increasing from there in value and work it can produce. For example, the student membership is thirty-five dollars and helps create one page for the archives. If someone does not want to identify themselves as a member, they can also choose to be a donor with any amount they choose. The other option that requires no money is volunteering for the organization. Money donations go towards, but not limited to, the website, invitations to events, events, video equipment, UNT, etc. == Student Activism == In an effort to further promote the Dallas Way's non-profit organization, students in the [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics course at TCU, worked collaboratively on an art and activism campaign to bring awareness to the Dallas Way non-profit organization. The campaign's mission is to push to engage the 18-24 year old demographic in the Fort Worth area and encourage Texas Christian University students to donate to the Dallas Way. '''Artist Statement: Chloe Cloud''' * Bulleted list item [[File:Dallas Way Activism Poster.jpg|thumb]] '''Artist Statement: Dania Kreisl''' * For my art, I created a poster with information on becoming a scholar at The Dallas Way. I provided background information on The Dallas Way and why the organization is important to those of the LGBTQ community and their impact on keeping the history of this community in this area alive for others to learn about. I created a QR code that takes you to the page to learn more about donating to become a scholar and what all that means and the act of being able to donate. I used bright colors and an interesting font for the title of the poster to grab people’s attention and draw them in to really take in what the poster is saying. I kept the art simple to allow the attention to be drawn into more as to what the words are saying not just pictures. '''Artist Statement: Jessica Schaffer''' * We decided as a group to design posters to promote The Dallas Way to the public. For my specific artwork, I wanted to focus on how the public can get involved in supporting The Dallas Way through volunteering. In my poster, I included the a list of benefits of volunteering at The Dallas Way. I noted that contributing to this important cause is a great way to make a difference in the LGBTQ community in Dallas, TX. I also included The Dallas Way's mission statement on the poster to give information about the magazine to promote involvement. In the overall design of the poster, I wanted to show The Dallas Way's logo, displayed on an ipad graphic, to entice the public to get involved and volunteer. Lastly, I included a QR code that is linked to the volunteer page that way it is easy for the public to access the volunteer page on The Dallas Way's website. '''Artist Statement: Ariel Wilder''' * Bulleted list item == Photos == == References == <references/> 3acce4213aa560d016674170e1feb54ef32e2967 6 72 769 2022-11-16T22:16:55Z Dkreisl 20 wikitext text/x-wiki This is an activism poster for the Dallas Way to inform others on ways to support this organization. 9385e03fe5feb652bf32db710c5d05475bb233e7 0 19 771 425 2022-11-16T22:18:48Z Dkreisl 20 wikitext text/x-wiki Dania is a control freak Virgo who happens to have three cats that she loves dearly. == Background == == Education == == Research == == Creative Work == [[The_Idea_of_Lack_of_Fluidity:_Detransitioning|The Idea of Lack of Fluidity: Detransitioning]] [[Masters and Johnson's Sex Therapy but Make it Queer]] == References == <references/> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://addran.tcu.edu/english/index.php]</ref> <ref> Benson Boone [https://www.bensonboone.com]</ref> == Activism == [[https://qwiki.miraheze.org/wiki/The Dallas Way]] dbae0b7905c53544b80b58bd421e79fa7d610746 772 771 2022-11-16T22:19:25Z Dkreisl 20 /* Activism */ wikitext text/x-wiki Dania is a control freak Virgo who happens to have three cats that she loves dearly. == Background == == Education == == Research == == Creative Work == [[The_Idea_of_Lack_of_Fluidity:_Detransitioning|The Idea of Lack of Fluidity: Detransitioning]] [[Masters and Johnson's Sex Therapy but Make it Queer]] == References == <references/> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://addran.tcu.edu/english/index.php]</ref> <ref> Benson Boone [https://www.bensonboone.com]</ref> == Activism == [[The_Dallas_Way]] 7cb5dfbc11910fa85c6cb415f11542f83281a67c 773 772 2022-11-16T22:19:42Z Dkreisl 20 wikitext text/x-wiki Dania is a control freak Virgo who happens to have three cats that she loves dearly. == Background == == Education == == Research == == Creative Work == [[The_Idea_of_Lack_of_Fluidity:_Detransitioning|The Idea of Lack of Fluidity: Detransitioning]] [[Masters and Johnson's Sex Therapy but Make it Queer]] == References == <references/> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://addran.tcu.edu/english/index.php]</ref> <ref> Benson Boone [https://www.bensonboone.com]</ref> == Activism == [[The_Dallas_Way]] 7be15d12c265d7c6186bd60ec98f699f0fc1dd1b 774 773 2022-11-16T22:20:52Z Dkreisl 20 wikitext text/x-wiki Dania is a control freak Virgo who happens to have three cats that she loves dearly. == Background == == Education == == Research == == Creative Work == [[The_Idea_of_Lack_of_Fluidity:_Detransitioning|The Idea of Lack of Fluidity: Detransitioning]] [[Masters and Johnson's Sex Therapy but Make it Queer]] == References == <references/> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://addran.tcu.edu/english/index.php]</ref> <ref> Benson Boone [https://www.bensonboone.com]</ref> == Activism == [[The_Dallas_Way]] 7774fbf7ab21815478a6c2c9a23e5290de7f8368 775 774 2022-11-16T22:21:28Z Dkreisl 20 wikitext text/x-wiki Dania is a control freak Virgo who happens to have three cats that she loves dearly. == Background == == Education == == Research == == Creative Work == [[The_Idea_of_Lack_of_Fluidity:_Detransitioning|The Idea of Lack of Fluidity: Detransitioning]] [[Masters and Johnson's Sex Therapy but Make it Queer]] == Activism == [[The_Dallas_Way]] == References == <references/> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://addran.tcu.edu/english/index.php]</ref> <ref> Benson Boone [https://www.bensonboone.com]</ref> bcb70ffbb422361883bcc3c2c43593bbb4777065 0 55 776 738 2022-11-17T14:48:14Z Matrim112830 2 /* Other */ wikitext text/x-wiki A list of topics/sources that might be added to our archives. == Archivists== ===Invisible Histories Project=== https://invisiblehistory.org/ <blockquote>The Invisible Histories Project locates, preserves, researches, and creates for local communities an accessible collection of the rich and diverse history of LGBTQ life in the US South. Currently, IHP collects in Alabama, Mississippi and Georgia. IHP acts as an intermediary between the Queer community and various institutions like universities, museums, archives, and libraries in order to preserve Southern LGBTQ histories.<ref>https://invisiblehistory.org/</ref></blockquote> ===[[The Dallas Way]]=== ===YesterQueer DFW=== https://www.facebook.com/todd.camp/about ===Weber Queer Archives=== https://www.weberqueerarchives.org/ == Activists == ===MPact FTW=== <blockquote> MPACT DFW mobilizes young gay/bisexual men to shape a healthy community for themselves, build positive social connections, and support their friends to have safer sex. </blockquote> https://www.mpactdfw.org/ === Shop Queer === <blockquote> an independent bookshop that splits our profits with queer authors. All remaining proceeds go to our Rainbow Book Bus campaign."<ref>https://shopqueer.co/</ref> https://shopqueer.co/ </blockquote> ===Queers 4 Climate Justice=== https://www.instagram.com/queers4climatejustice == Artists == ===Here To Stay=== <blockquote> Supporting LGBTQ artists, musicians, and mutual aid groups in DFW. </blockquote> https://linktr.ee/Heretostaynonprofit ===Third Space DFW=== <blockquote> Mission Statement Creating safe spaces for the LGBTQIA+ community. Providing platforms for our voices to be heard. Colliding community with resources. Giving rise to queer ideas, art, and individuals. We will not hide, shy away, or be ashamed. We are something new and unrecognizable a newly defined era of meaning and representation.<ref>https://thirdspacedfw.org/</ref></blockquote> https://thirdspacedfw.org/<br> https://www.instagram.com/thirdspacedfw/ ===Every Lesbian and Their Fashion=== Instagram Account<ref>https://www.instagram.com/everylesbianandtheirfashion/</ref> https://www.instagram.com/everylesbianandtheirfashion/ ===The Pansy Project=== https://thepansyproject.com/ ===Bad Queers Podcast=== https://badqueerspod.buzzsprout.com/ ===The Cyborg Jillian Weise=== http://jillianweise.com/<ref>http://jillianweise.com/</ref><br> https://www.instagram.com/p/Ci3Yguwr7lm/?igshid=NjZiMGI4OTY= == Other == ===Talking To Blind, Gay, Asexual, Polyamorous, Furries=== Podcast But Outside<br> https://www.instagram.com/reel/Chng7SwDhcy/?igshid=NjZiMGI4OTY%3D <br> https://www.youtube.com/watch?v=S-jhXnqO6mc ===Hans Christian Anderson=== https://www.instagram.com/p/CidCv4kOp7o/?igshid=NjZiMGI4OTY= ===Random Tweet=== https://twitter.com/jpbrammer/status/1402366272298532866 ===A Bibliography=== https://www.zotero.org/groups/2141783/queer_studies == References == <references/> 25a8a87d20f4e9debd905fd6247f353f0e2f4f9c 0 18 777 479 2022-11-17T14:52:12Z Matrim112830 2 /* Research */ wikitext text/x-wiki Mat Wenzel is an instructor of writing at TCU, in Fort Worth Texas. {{ExpandArticle}} == Background == == Education == == Research == ===Some Bibliographies=== Queer Studies https://www.zotero.org/groups/2141783/queer_studies Story https://www.zotero.org/groups/4860338/story/ == Creative Work == == References == <references/> == External Links == [http://www.matwenzel.com www.matwenzel.com]<br> [https://sketchboard.me/zDpBcFzFpPYy Queer Methodologies WIP Sketchboard] ab463f8d91f107a3467e2ad5689424c32b6f7b00 778 777 2022-11-17T14:52:50Z Matrim112830 2 wikitext text/x-wiki Mat Wenzel is an instructor of writing at TCU, in Fort Worth Texas. == Background == == Education == == Research == ===Some Bibliographies=== Queer Studies https://www.zotero.org/groups/2141783/queer_studies Story https://www.zotero.org/groups/4860338/story/ == Creative Work == == References == <references/> == External Links == [http://www.matwenzel.com www.matwenzel.com]<br> [https://sketchboard.me/zDpBcFzFpPYy Queer Methodologies WIP Sketchboard] cd7b3b7f069b82cfea33f5eb8786cea263130b4e 0 2 779 472 2022-11-17T15:40:32Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Potential Projects == Here are some possible pages and projects for wiki "bureaucrats" to consider [[Potential Archives]] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Original Pages == [[Asexual Queerness]] [https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness (web archive)] [[Centaurworld]] [https://web.archive.org/web/20221024145008/https://qwiki.miraheze.org/wiki/Centaurworld (web archive)] [[Compulsory heterosexuality]] [https://web.archive.org/web/20221024145342/https://qwiki.miraheze.org/wiki/Compulsory_heterosexuality (web archive)] [[FannyAnn Eddy]] [https://web.archive.org/web/20221024150631/https://qwiki.miraheze.org/wiki/FannyAnn_Eddy (web archive)] [[Masters and Johnson's Sex Therapy but Make it Queer]] [https://web.archive.org/web/20221024145608/https://qwiki.miraheze.org/wiki/Masters_and_Johnson%27s_Sex_Therapy_but_Make_it_Queer (web archive)] [[New Queer Intimism]] [https://web.archive.org/web/20221024150103/https://qwiki.miraheze.org/wiki/New_Queer_Intimism (web archive)] [[Queer Activism Through Judicial Decisions]] [https://web.archive.org/web/20221024150454/https://qwiki.miraheze.org/wiki/Queer_Activism_Through_Judicial_Decisions (web archive)] [[Shifting Fashion Industry Ideals: Queer Fashion]] [https://web.archive.org/web/20221024151225/https://qwiki.miraheze.org/wiki/Shifting_Fashion_Industry_Ideals:_Queer_Fashion (web archive)] == Original Clusters == [[Asexual Queerness]] [https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness (web archive)] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 8f3103836ed0e5b43206275f34f5d7bab9119e8e 784 779 2022-12-01T14:51:37Z Matrim112830 2 /* Original Clusters */ wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Potential Projects == Here are some possible pages and projects for wiki "bureaucrats" to consider [[Potential Archives]] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Original Pages == [[Asexual Queerness]] [https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness (web archive)] [[Centaurworld]] [https://web.archive.org/web/20221024145008/https://qwiki.miraheze.org/wiki/Centaurworld (web archive)] [[Compulsory heterosexuality]] [https://web.archive.org/web/20221024145342/https://qwiki.miraheze.org/wiki/Compulsory_heterosexuality (web archive)] [[FannyAnn Eddy]] [https://web.archive.org/web/20221024150631/https://qwiki.miraheze.org/wiki/FannyAnn_Eddy (web archive)] [[Masters and Johnson's Sex Therapy but Make it Queer]] [https://web.archive.org/web/20221024145608/https://qwiki.miraheze.org/wiki/Masters_and_Johnson%27s_Sex_Therapy_but_Make_it_Queer (web archive)] [[New Queer Intimism]] [https://web.archive.org/web/20221024150103/https://qwiki.miraheze.org/wiki/New_Queer_Intimism (web archive)] [[Queer Activism Through Judicial Decisions]] [https://web.archive.org/web/20221024150454/https://qwiki.miraheze.org/wiki/Queer_Activism_Through_Judicial_Decisions (web archive)] [[Shifting Fashion Industry Ideals: Queer Fashion]] [https://web.archive.org/web/20221024151225/https://qwiki.miraheze.org/wiki/Shifting_Fashion_Industry_Ideals:_Queer_Fashion (web archive)] == Original Clusters == [Queer Mannerisms]] [https://web.archive.org/web/20221201145029/https://qwiki.miraheze.org/wiki/Queer_Mannerisms] [[Queer Coding]] [https://web.archive.org/web/20221201143049/https://qwiki.miraheze.org/wiki/Queer_Coding (web archive)] [[The Idea of Lack of Fluidity: Detransitioning]] [https://web.archive.org/web/20221201143529/https://qwiki.miraheze.org/wiki/The_Idea_of_Lack_of_Fluidity:_Detransitioning (web archive)] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 08cf0a96259bb9edc8e8b8e0bdd7230fe9efe496 785 784 2022-12-01T14:56:27Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Potential Projects == Here are some possible pages and projects for wiki "bureaucrats" to consider [[Potential Archives]] == Original Pages == [[Asexual Queerness]] [https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness (web archive)] [[Centaurworld]] [https://web.archive.org/web/20221024145008/https://qwiki.miraheze.org/wiki/Centaurworld (web archive)] [[Compulsory heterosexuality]] [https://web.archive.org/web/20221024145342/https://qwiki.miraheze.org/wiki/Compulsory_heterosexuality (web archive)] [[FannyAnn Eddy]] [https://web.archive.org/web/20221024150631/https://qwiki.miraheze.org/wiki/FannyAnn_Eddy (web archive)] [[Masters and Johnson's Sex Therapy but Make it Queer]] [https://web.archive.org/web/20221024145608/https://qwiki.miraheze.org/wiki/Masters_and_Johnson%27s_Sex_Therapy_but_Make_it_Queer (web archive)] [[New Queer Intimism]] [https://web.archive.org/web/20221024150103/https://qwiki.miraheze.org/wiki/New_Queer_Intimism (web archive)] [[Queer Activism Through Judicial Decisions]] [https://web.archive.org/web/20221024150454/https://qwiki.miraheze.org/wiki/Queer_Activism_Through_Judicial_Decisions (web archive)] [[Shifting Fashion Industry Ideals: Queer Fashion]] [https://web.archive.org/web/20221024151225/https://qwiki.miraheze.org/wiki/Shifting_Fashion_Industry_Ideals:_Queer_Fashion (web archive)] == Original Clusters == [Queer Mannerisms]] [https://web.archive.org/web/20221201145029/https://qwiki.miraheze.org/wiki/Queer_Mannerisms] [[Queer Coding]] [https://web.archive.org/web/20221201143049/https://qwiki.miraheze.org/wiki/Queer_Coding (web archive)] [[The Idea of Lack of Fluidity: Detransitioning]] [https://web.archive.org/web/20221201143529/https://qwiki.miraheze.org/wiki/The_Idea_of_Lack_of_Fluidity:_Detransitioning (web archive)] ==All Pages== [[Special:AllPages]] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> b928fbce879c1f1e5f2a1e6b7ffb6824cdac6688 0 73 780 2022-11-30T19:28:56Z Catherinecunningham 8 Created page with "This page is in dedication to our groups Queer art and activism, a page on social media dedicated to destigmatizing HIV/AIDs and spreading resources in our community. Below are our artist statements and more information on our art. == Artist Statement One == Sometimes you meet people and there's a soul tie. A connection that only a divine entity could have crafted. Sometimes, those people are already gone. For me, Alberto “Ricco” Hernandez is my soul tie. A “guard..." wikitext text/x-wiki This page is in dedication to our groups Queer art and activism, a page on social media dedicated to destigmatizing HIV/AIDs and spreading resources in our community. Below are our artist statements and more information on our art. == Artist Statement One == Sometimes you meet people and there's a soul tie. A connection that only a divine entity could have crafted. Sometimes, those people are already gone. For me, Alberto “Ricco” Hernandez is my soul tie. A “guardian angel” if you will. He is best known for singing at the top of his lungs, and living life to the fullest, even in the midst of a disease overtaking him. When I started thinking about how I wanted to go about my art, Ricco immediately came to mind. There was no other person I wanted to talk about. Then, as I started researching, I found more people. From Rock Hudson, to Freddie Mercury, the world's most prominent celebrities reminded me of Ricco. This is for you Ricco, everything is for you. You are “bigger than the whole sky”. == Artist Statement Two == == Artist Statement Three == == Artist Statement Four == == Links and Information == Linktree: https://linktr.ee/rhetoricforaidsactivism, Instagram: , Contact Information: rhetoricforaidsactivism@gmail.com e123d88b1a356b505f772121f310b82ae4469c36 781 780 2022-11-30T22:21:13Z Catherinecunningham 8 /* Links and Information */ wikitext text/x-wiki This page is in dedication to our groups Queer art and activism, a page on social media dedicated to destigmatizing HIV/AIDs and spreading resources in our community. Below are our artist statements and more information on our art. == Artist Statement One == Sometimes you meet people and there's a soul tie. A connection that only a divine entity could have crafted. Sometimes, those people are already gone. For me, Alberto “Ricco” Hernandez is my soul tie. A “guardian angel” if you will. He is best known for singing at the top of his lungs, and living life to the fullest, even in the midst of a disease overtaking him. When I started thinking about how I wanted to go about my art, Ricco immediately came to mind. There was no other person I wanted to talk about. Then, as I started researching, I found more people. From Rock Hudson, to Freddie Mercury, the world's most prominent celebrities reminded me of Ricco. This is for you Ricco, everything is for you. You are “bigger than the whole sky”. == Artist Statement Two == == Artist Statement Three == == Artist Statement Four == == Links and Information == Linktree: https://linktr.ee/rhetoricforaidsactivism, Tumblr: [https://www.tumblr.com/blog/rhetoric-for-aids-activism Rhetoric-For-AIDs-Activism], Contact Information: rhetoricforaidsactivism@gmail.com b31655e63f9514ccb89dc24bbd3f965cf86ec447 782 781 2022-11-30T22:22:42Z Catherinecunningham 8 wikitext text/x-wiki This page is in dedication to our groups Queer art and activism, a Tumblr dedicated to destigmatizing HIV/AIDs and spreading resources in our community. Below are our artist statements and more information on our art. == Artist Statement One == Sometimes you meet people and there's a soul tie. A connection that only a divine entity could have crafted. Sometimes, those people are already gone. For me, Alberto “Ricco” Hernandez is my soul tie. A “guardian angel” if you will. He is best known for singing at the top of his lungs, and living life to the fullest, even in the midst of a disease overtaking him. When I started thinking about how I wanted to go about my art, Ricco immediately came to mind. There was no other person I wanted to talk about. Then, as I started researching, I found more people. From Rock Hudson, to Freddie Mercury, the world's most prominent celebrities reminded me of Ricco. This is for you Ricco, everything is for you. You are “bigger than the whole sky”. == Artist Statement Two == == Artist Statement Three == == Artist Statement Four == == Links and Information == Linktree: https://linktr.ee/rhetoricforaidsactivism, Tumblr: [https://www.tumblr.com/blog/rhetoric-for-aids-activism Rhetoric-For-AIDs-Activism], Contact Information: rhetoricforaidsactivism@gmail.com bb513b102fbbd63f7c66eb6e552558f55ce28b3d 783 782 2022-12-01T03:14:34Z Groomesdeja 19 /* Artist Statement Two */ wikitext text/x-wiki This page is in dedication to our groups Queer art and activism, a Tumblr dedicated to destigmatizing HIV/AIDs and spreading resources in our community. Below are our artist statements and more information on our art. == Artist Statement One == Sometimes you meet people and there's a soul tie. A connection that only a divine entity could have crafted. Sometimes, those people are already gone. For me, Alberto “Ricco” Hernandez is my soul tie. A “guardian angel” if you will. He is best known for singing at the top of his lungs, and living life to the fullest, even in the midst of a disease overtaking him. When I started thinking about how I wanted to go about my art, Ricco immediately came to mind. There was no other person I wanted to talk about. Then, as I started researching, I found more people. From Rock Hudson, to Freddie Mercury, the world's most prominent celebrities reminded me of Ricco. This is for you Ricco, everything is for you. You are “bigger than the whole sky”. == Artist Statement Two == There is immense power in the written word. My approach to the art-activism included highlighting quotes by individuals that have been affected by AIDs whether they are currently living with the disease, or work to support those that do. During my research, it was important to me to focus on the lay voices within the HIV/AIDs community, and not only a larger organization or an individual with star power. This led me to the National AIDs Memorial website and YouTube channel where "surviving voices" and "unsung" heroes within the HIV/AIDs community were able to tell their stories on their own terms in a video interview. One common theme throughout the various videos was that of intersectionality and living within many identifiers, a core principle of queer rhetoric, which hinted that I was in the right place. The featured interviews worked to humanize those that had passed from AIDs, individuals currently living with HIV, "artvist" who create for the HIV/AIDs community, and non-profit organization leaders invested in resource access. While the video interviews can definitely speak for themselves, I also believe that by coming across a single quote that I have pulled can pique interest and one random internet person can indirectly learn more about the HIV/AIDs community--and hopefully inform themselves on a topic they know very little about. Informing and learning are ever-lasting, after all. For there is immense power in the written word. == Artist Statement Three == == Artist Statement Four == == Links and Information == Linktree: https://linktr.ee/rhetoricforaidsactivism, Tumblr: [https://www.tumblr.com/blog/rhetoric-for-aids-activism Rhetoric-For-AIDs-Activism], Contact Information: rhetoricforaidsactivism@gmail.com ccef85317b89d68fd671397a5b1e5acad38dfcc9 788 783 2022-12-01T19:12:58Z Brwilson1 12 /* Artist Statement Three */ wikitext text/x-wiki This page is in dedication to our groups Queer art and activism, a Tumblr dedicated to destigmatizing HIV/AIDs and spreading resources in our community. Below are our artist statements and more information on our art. == Artist Statement One == Sometimes you meet people and there's a soul tie. A connection that only a divine entity could have crafted. Sometimes, those people are already gone. For me, Alberto “Ricco” Hernandez is my soul tie. A “guardian angel” if you will. He is best known for singing at the top of his lungs, and living life to the fullest, even in the midst of a disease overtaking him. When I started thinking about how I wanted to go about my art, Ricco immediately came to mind. There was no other person I wanted to talk about. Then, as I started researching, I found more people. From Rock Hudson, to Freddie Mercury, the world's most prominent celebrities reminded me of Ricco. This is for you Ricco, everything is for you. You are “bigger than the whole sky”. == Artist Statement Two == There is immense power in the written word. My approach to the art-activism included highlighting quotes by individuals that have been affected by AIDs whether they are currently living with the disease, or work to support those that do. During my research, it was important to me to focus on the lay voices within the HIV/AIDs community, and not only a larger organization or an individual with star power. This led me to the National AIDs Memorial website and YouTube channel where "surviving voices" and "unsung" heroes within the HIV/AIDs community were able to tell their stories on their own terms in a video interview. One common theme throughout the various videos was that of intersectionality and living within many identifiers, a core principle of queer rhetoric, which hinted that I was in the right place. The featured interviews worked to humanize those that had passed from AIDs, individuals currently living with HIV, "artvist" who create for the HIV/AIDs community, and non-profit organization leaders invested in resource access. While the video interviews can definitely speak for themselves, I also believe that by coming across a single quote that I have pulled can pique interest and one random internet person can indirectly learn more about the HIV/AIDs community--and hopefully inform themselves on a topic they know very little about. Informing and learning are ever-lasting, after all. For there is immense power in the written word. == Artist Statement Three == There is a lot that can be learned from people's stories. At the beginning of the semester, I said I took this class because I think the world would be a better place if we tried to understand one another and support each other. For my art/activism project I tried to use that statement to highlight real people's stories, organizations that are helping people who are HIV/AIDS-positive, and someone who impacted the way many people viewed HIV/AIDS-positive people. I focused on including a story from someone who was a well-known activist in Dallas, Texas, Bruce Monroe. Bruce Monroe was an activist with the Dallas Gay and Lesbian Alliance organization. He was AIDS-positive and shared his story online. Having his story allows people the opportunity to really learn about the reality of having AIDS. Hearing real people's experiences with having AIDS, as well as having to work towards having support from people and the government really allows you a new understanding. In addition, I included two organizations that are in Dallas. The first is the AIDS Walk South Dallas which is an organization that raises money by hosting a 5K and through different fundraising events. They help communities that are HIV/AIDS positive by offering resources. The other is DIFFA which has a location in Dallas. DIFFA raises money to donate to different organizations to help HIV/AIDS-positive individuals. All three of these I found when looking for activists and organizations specifically focused on HIV/AIDS that are local. I thought it was important to highlight local activists and organizations because they have a huge impact on the community. Since these organizations are located near TCU, it could be very beneficial for someone who is looking for resources here. The last post I created was about Princess Diana's impact on the HIV/AIDS stigma. Though the stigma is still an issue, Princess Diana showed the world the importance of treating people with compassion. She is someone who I have always enjoyed learning about and who I think made a huge impact on the world. == Artist Statement Four == == Links and Information == Linktree: https://linktr.ee/rhetoricforaidsactivism, Tumblr: [https://www.tumblr.com/blog/rhetoric-for-aids-activism Rhetoric-For-AIDs-Activism], Contact Information: rhetoricforaidsactivism@gmail.com ccce786095b94af8fbc683e06f6cc7a6019dcad3 797 788 2022-12-05T16:24:55Z ARStallings 10 /* Artist Statement Four */ wikitext text/x-wiki This page is in dedication to our groups Queer art and activism, a Tumblr dedicated to destigmatizing HIV/AIDs and spreading resources in our community. Below are our artist statements and more information on our art. == Artist Statement One == Sometimes you meet people and there's a soul tie. A connection that only a divine entity could have crafted. Sometimes, those people are already gone. For me, Alberto “Ricco” Hernandez is my soul tie. A “guardian angel” if you will. He is best known for singing at the top of his lungs, and living life to the fullest, even in the midst of a disease overtaking him. When I started thinking about how I wanted to go about my art, Ricco immediately came to mind. There was no other person I wanted to talk about. Then, as I started researching, I found more people. From Rock Hudson, to Freddie Mercury, the world's most prominent celebrities reminded me of Ricco. This is for you Ricco, everything is for you. You are “bigger than the whole sky”. == Artist Statement Two == There is immense power in the written word. My approach to the art-activism included highlighting quotes by individuals that have been affected by AIDs whether they are currently living with the disease, or work to support those that do. During my research, it was important to me to focus on the lay voices within the HIV/AIDs community, and not only a larger organization or an individual with star power. This led me to the National AIDs Memorial website and YouTube channel where "surviving voices" and "unsung" heroes within the HIV/AIDs community were able to tell their stories on their own terms in a video interview. One common theme throughout the various videos was that of intersectionality and living within many identifiers, a core principle of queer rhetoric, which hinted that I was in the right place. The featured interviews worked to humanize those that had passed from AIDs, individuals currently living with HIV, "artvist" who create for the HIV/AIDs community, and non-profit organization leaders invested in resource access. While the video interviews can definitely speak for themselves, I also believe that by coming across a single quote that I have pulled can pique interest and one random internet person can indirectly learn more about the HIV/AIDs community--and hopefully inform themselves on a topic they know very little about. Informing and learning are ever-lasting, after all. For there is immense power in the written word. == Artist Statement Three == There is a lot that can be learned from people's stories. At the beginning of the semester, I said I took this class because I think the world would be a better place if we tried to understand one another and support each other. For my art/activism project I tried to use that statement to highlight real people's stories, organizations that are helping people who are HIV/AIDS-positive, and someone who impacted the way many people viewed HIV/AIDS-positive people. I focused on including a story from someone who was a well-known activist in Dallas, Texas, Bruce Monroe. Bruce Monroe was an activist with the Dallas Gay and Lesbian Alliance organization. He was AIDS-positive and shared his story online. Having his story allows people the opportunity to really learn about the reality of having AIDS. Hearing real people's experiences with having AIDS, as well as having to work towards having support from people and the government really allows you a new understanding. In addition, I included two organizations that are in Dallas. The first is the AIDS Walk South Dallas which is an organization that raises money by hosting a 5K and through different fundraising events. They help communities that are HIV/AIDS positive by offering resources. The other is DIFFA which has a location in Dallas. DIFFA raises money to donate to different organizations to help HIV/AIDS-positive individuals. All three of these I found when looking for activists and organizations specifically focused on HIV/AIDS that are local. I thought it was important to highlight local activists and organizations because they have a huge impact on the community. Since these organizations are located near TCU, it could be very beneficial for someone who is looking for resources here. The last post I created was about Princess Diana's impact on the HIV/AIDS stigma. Though the stigma is still an issue, Princess Diana showed the world the importance of treating people with compassion. She is someone who I have always enjoyed learning about and who I think made a huge impact on the world. == Artist Statement Four == People often say that a picture is worth a thousand words, but what use are pictures if you cannot conjure up the words to describe them? I could show you an endless amount of pictures, but they mean nothing without words behind them. That is the importance of stories—of sharing stories. When you understand the importance of words, the motto of our institution’s English Department, “Read the World, Write a Way,” becomes clear. This motto encourages students to be aware of their positionality so that they can use their writing to right the wrongs that they see. I am lucky to not be impacted by AIDS in any way—whether personally or having to watch a loved one suffer from it. Thus, I want to use what little privilege I have in order to help uplift the stories of those who are not as fortunate as me and make sure that they are seen and not forgotten because that is the best way that I can personally “write a way.” == Links and Information == Linktree: https://linktr.ee/rhetoricforaidsactivism, Tumblr: [https://www.tumblr.com/blog/rhetoric-for-aids-activism Rhetoric-For-AIDs-Activism], Contact Information: rhetoricforaidsactivism@gmail.com 8966ee60c1dd67537117de79d05e51278d730080 0 1 786 372 2022-12-01T14:57:50Z Matrim112830 2 /* Welcome to {{SITENAME}}! */ wikitext text/x-wiki __NOTOC__ [[File:Future Is So Queer in Ukraine.jpg|thumb|Future Is So Queer in Ukraine]] == Welcome to {{SITENAME}}! == This wiki serves as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. Its major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. === Philosophy === Queer Wiki exists as a space for archiving that does not have the same restrictions that Wikipedia has. One of Wikipedia's core content policies is NPOV, the "neutral" point of view. From Wikipedia <blockquote>"All encyclopedic content on Wikipedia must be written from a neutral point of view (NPOV), which means representing fairly, proportionately, and, as far as possible, without editorial bias, all the significant views that have been published by reliable sources on a topic. NPOV is a fundamental principle of Wikipedia and of other Wikimedia projects. It is also one of Wikipedia's three core content policies; the other two are "Verifiability" and "No original research". These policies jointly determine the type and quality of material acceptable in Wikipedia articles, and because they work in harmony, they should not be interpreted in isolation from one another. Editors are strongly encouraged to familiarize themselves with all three. This policy is non-negotiable, and the principles upon which it is based cannot be superseded by other policies or guidelines, nor by editor consensus." <ref>https://en.wikipedia.org/wiki/Wikipedia:Neutral_point_of_view</ref> </blockquote> QWiki not only questions the possibility of the neutral state, but asserts a QPOV. It asserts no need for "verification" per se, and invites original thought and inquiry. === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, and thank you for visiting this wiki. We are still in the process of developing pages, but feel free to browse or contribute.[[disidentification]] == References == <references/> c77808eab7f548fb80de7b0f4f5ca0d783b64a48 787 786 2022-12-01T14:59:38Z Matrim112830 2 /* Welcome to {{SITENAME}}! */ wikitext text/x-wiki __NOTOC__ [[File:Future Is So Queer in Ukraine.jpg|thumb|Future Is So Queer in Ukraine]] == Welcome to {{SITENAME}}! == This wiki serves as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. Its major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. === Philosophy === Queer Wiki exists as a space for archiving that does not have the same restrictions that Wikipedia has. One of Wikipedia's core content policies is NPOV, the "neutral" point of view. From Wikipedia <blockquote>"All encyclopedic content on Wikipedia must be written from a neutral point of view (NPOV), which means representing fairly, proportionately, and, as far as possible, without editorial bias, all the significant views that have been published by reliable sources on a topic. NPOV is a fundamental principle of Wikipedia and of other Wikimedia projects. It is also one of Wikipedia's three core content policies; the other two are "Verifiability" and "No original research". These policies jointly determine the type and quality of material acceptable in Wikipedia articles, and because they work in harmony, they should not be interpreted in isolation from one another. Editors are strongly encouraged to familiarize themselves with all three. This policy is non-negotiable, and the principles upon which it is based cannot be superseded by other policies or guidelines, nor by editor consensus." <ref>https://en.wikipedia.org/wiki/Wikipedia:Neutral_point_of_view</ref> </blockquote> QWiki not only questions the possibility of the neutral state, but asserts a QPOV. It asserts no need for "verification" per se, and invites original thought and inquiry. === All Pages === [[Special:AllPages]] === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, and thank you for visiting this wiki. We are still in the process of developing pages, but feel free to browse or contribute.[[disidentification]] == References == <references/> c3e51b3fad6f74029ec98c16d226f29d55eece5e 828 131 986 2022-12-02T06:35:43Z wikipedia>Paine Ellsworth 0 per edit request on talk page - include icons for Mediawiki, Phabricator and Wikitech Scribunto text/plain -- This module stores icon data for [[Module:Icon]]. -------------------------------------------------------------------------------- -- Icon data -------------------------------------------------------------------------------- local data = { fa = { image = "Featured article star.svg", tooltip = "Featured article", link = true, }, far = { image = "Cscr-star piece.png", tooltip = "Featured article review", link = true, }, farc = { image = "Cscr-star piece.png", tooltip = "Featured article removal candidate", link = true, }, ffa = { aliases = {"dfa"}, image = "Featured article star - cross.svg", tooltip = "Former featured article", link = true, 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image = "Wikipedia-logo.svg", tooltip = "Picture of the Day", link = true, }, _DEFAULT = { image = "Symbol question.svg", link = false, } } -------------------------------------------------------------------------------- -- End icon data -------------------------------------------------------------------------------- -- Make aliases work the same as normal keys, and remove the "aliases" subtables. local ret= {} for code, iconData in pairs(data) do iconData.canonicalCode = code if iconData.aliases then for _, alias in ipairs(iconData.aliases) do ret[alias] = iconData end iconData.aliases = nil end ret[code] = iconData end return ret d8e668d4755103abdbc8325fa35964e99198c29d 0 6 789 64 2022-12-05T13:44:52Z 2600:1700:7F85:2540:7820:2146:6632:D131 0 wikitext text/x-wiki Emma Kate Howard == Art == [[File:IMG 8378.jpg|thumb]] == Artist Statement == In my art piece, I chose to focus on the complicated relationship between Christianity and queerness, both in my personal life and in a broader historical and social context. I decided to use faux stained glass, as stained glass windows are an iconic symbol of the Christian church. In particular, stained glass windows have historically been used to communicate the gospel story to churchgoers who could read the text themselves. As a queer Christian, I have experienced the feeling of being on the “outside” of Christian spaces, much like those illiterate churchgoers, and only able to experience a distorted and refracted version of Christ’s love. The image itself features a cross, upon which lays a piece of cloth in the colors of the bisexual flag. == Activism == == Queer Wiki == c655bd3211559d3d31aceffc5e1ad00c46121446 791 789 2022-12-05T13:46:44Z Emma Kate 9 wikitext text/x-wiki Emma Kate Howard == Art == [[File:IMG 8378.jpg]] == Artist Statement == In my art piece, I chose to focus on the complicated relationship between Christianity and queerness, both in my personal life and in a broader historical and social context. I decided to use faux stained glass, as stained glass windows are an iconic symbol of the Christian church. In particular, stained glass windows have historically been used to communicate the gospel story to churchgoers who could read the text themselves. As a queer Christian, I have experienced the feeling of being on the “outside” of Christian spaces, much like those illiterate churchgoers, and only able to experience a distorted and refracted version of Christ’s love. The image itself features a cross, upon which lays a piece of cloth in the colors of the bisexual flag. == Activism == == Queer Wiki == d3ae6ce2c65673a56a4945ecaf8ccfbd89f2c829 792 791 2022-12-05T13:50:55Z Emma Kate 9 wikitext text/x-wiki Emma Kate Howard == Art == [[File:Emma Kate Howard's Art.jpeg|thumb]] == Artist Statement == In my art piece, I chose to focus on the complicated relationship between Christianity and queerness, both in my personal life and in a broader historical and social context. I decided to use faux stained glass, as stained glass windows are an iconic symbol of the Christian church. In particular, stained glass windows have historically been used to communicate the gospel story to churchgoers who could read the text themselves. As a queer Christian, I have experienced the feeling of being on the “outside” of Christian spaces, much like those illiterate churchgoers, and only able to experience a distorted and refracted version of Christ’s love. The image itself features a cross, upon which lays a piece of cloth in the colors of the bisexual flag. == Activism == == Queer Wiki == e9984d2b613c6d7359bf8315921fd8b854ac4647 793 792 2022-12-05T13:53:07Z Emma Kate 9 /* Art */ wikitext text/x-wiki Emma Kate Howard == Art == [[File:Emma Kate Howard's Art.jpeg|400px]] == Artist Statement == In my art piece, I chose to focus on the complicated relationship between Christianity and queerness, both in my personal life and in a broader historical and social context. I decided to use faux stained glass, as stained glass windows are an iconic symbol of the Christian church. In particular, stained glass windows have historically been used to communicate the gospel story to churchgoers who could read the text themselves. As a queer Christian, I have experienced the feeling of being on the “outside” of Christian spaces, much like those illiterate churchgoers, and only able to experience a distorted and refracted version of Christ’s love. The image itself features a cross, upon which lays a piece of cloth in the colors of the bisexual flag. == Activism == == Queer Wiki == 3cd4491706526eaaf49bd5ed498d74b2797dc436 794 793 2022-12-05T13:55:18Z Emma Kate 9 wikitext text/x-wiki Emma Kate Howard == Art == [[File:Emma Kate Howard's Art.jpeg|400px]] == Artist Statement == In my art piece, I chose to focus on the complicated relationship between Christianity and queerness, both in my personal life and in a broader historical and social context. I decided to use faux stained glass, as stained glass windows are an iconic symbol of the Christian church. In particular, stained glass windows have historically been used to communicate the gospel story to churchgoers who could read the text themselves. As a queer Christian, I have experienced the feeling of being on the “outside” of Christian spaces, much like those illiterate churchgoers, and only able to experience a distorted and refracted version of Christ’s love. The image itself features a cross, upon which lays a piece of cloth in the colors of the bisexual flag. == Activism == == Queer Wiki == [[Velma Dinkley is (finally) a Lesbian]] 5324fecb10a68bb28f0169897c2ce14f60fac8b7 796 794 2022-12-05T14:05:01Z Emma Kate 9 /* Activism */ wikitext text/x-wiki Emma Kate Howard == Art == [[File:Emma Kate Howard's Art.jpeg|400px]] == Artist Statement == In my art piece, I chose to focus on the complicated relationship between Christianity and queerness, both in my personal life and in a broader historical and social context. I decided to use faux stained glass, as stained glass windows are an iconic symbol of the Christian church. In particular, stained glass windows have historically been used to communicate the gospel story to churchgoers who could read the text themselves. As a queer Christian, I have experienced the feeling of being on the “outside” of Christian spaces, much like those illiterate churchgoers, and only able to experience a distorted and refracted version of Christ’s love. The image itself features a cross, upon which lays a piece of cloth in the colors of the bisexual flag. == Activism == Our activism took two forms, both centered around providing community and comfort to queer Christians on TCU's campus. Firstly, we will be hosting a queer bible study on January 17th. Secondly, we collected a list of resources for queer Christians, which can be found here: https://docs.google.com/document/d/17-IniDfnCjoEqiSH_KQCp-9Jqbjas63NafwYqosU79s/edit == Queer Wiki == [[Velma Dinkley is (finally) a Lesbian]] 09f472304c46c525a26d66bb03e8cead534e7ca5 6 74 790 2022-12-05T13:46:12Z Emma Kate 9 wikitext text/x-wiki da39a3ee5e6b4b0d3255bfef95601890afd80709 0 64 795 581 2022-12-05T13:58:19Z Emma Kate 9 wikitext text/x-wiki Velma Dinkley is a principal character in the ''Scooby-Doo'' franchise, alongside Shaggy Rogers, Fred Jones, Daphne Blake, and their talking dog, a Great Dane named Scooby-Doo. She is usually portrayed as the “brains” of the group and often wears an orange turtleneck sweater and glass. == Introduction == Velma’s character has changed significantly throughout the many different iterations of the ''Scooby-Doo'' franchise. Since her introduction in the 1969 animated series, ''Scooby-Doo, Where Are You?'' Velma has been an icon for queer fans, due to her consistent worry about Daphne’s safety, her lack of interest in boys, and her nerdiness, which separates her from Daphne’s hyperfeminine nature. == Creator’s Goals == Various ''Scooby-Doo'' writers, producers, and directors have attempted to portray Velma Dinkley as attracted to women for decades. James Gunn, who directed the 2002 ''Scooby-Doo'' film and its 2004 sequel, ''Scooby-Doo 2: Monsters Unleashed'', revealed on Twitter in 2020 that Velma was “explicitly gay” in the initial script, but the studio pushed back against depictions of queer sexuality, making Velma’s queerness not only non-apparent but non-existent. Similarly, creator Tony Cervone wrote on Instagram in 2020 that Velma was written as gay in ''Scooby-Doo! Mystery Incorporated'', which premiered in 2010. This is despite Velma and Shaggy having a romantic relationship during the show, although Velma was portrayed as uncomfortable in this relationship. == Canonical Lesbianism (Trick or Treat Scooby-Doo!) == In the 2022 animated film, ''Trick or Treat Scooby-Doo!'', Velma has a crush on the female secondary antagonist Coco Diablo. Upon meeting Coco, Velma stops in her tracks and becomes infatuated. Notably, Coco mirrors many traits that appear in Velma herself, such as a turtleneck and glasses. == See Also == [[Velma Dinkley: Coded to Explicit]] == References == <ref>https://variety.com/2022/film/news/scooby-doo-velma-lesbian-gay-1235392668/ https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/ </ref> <ref>https://variety.com/2022/film/news/scooby-doo-velma-lesbian-gay-1235392668/ https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/ </ref> 545bec342d6793b8796c45cf2f5990e741b0c519 801 795 2022-12-05T22:20:58Z Emma Kate 9 wikitext text/x-wiki Velma Dinkley is a principal character in the ''Scooby-Doo'' franchise, alongside Shaggy Rogers, Fred Jones, Daphne Blake, and their talking dog, a Great Dane named Scooby-Doo. She is usually portrayed as the “brains” of the group and often wears an orange turtleneck sweater and glass. == Introduction == Velma’s character has changed significantly throughout the many different iterations of the ''Scooby-Doo'' franchise. Since her introduction in the 1969 animated series, ''Scooby-Doo, Where Are You?'' Velma has been an icon for queer fans, due to her consistent worry about Daphne’s safety, her lack of interest in boys, and her nerdiness, which separates her from Daphne’s hyperfeminine nature. == Creator’s Goals == Various ''Scooby-Doo'' writers, producers, and directors have attempted to portray Velma Dinkley as attracted to women for decades. James Gunn, who directed the 2002 ''Scooby-Doo'' film and its 2004 sequel, ''Scooby-Doo 2: Monsters Unleashed'', revealed on Twitter in 2020 that Velma was “explicitly gay” in the initial script, but the studio pushed back against depictions of queer sexuality, making Velma’s queerness not only non-apparent but non-existent. Similarly, creator Tony Cervone wrote on Instagram in 2020 that Velma was written as gay in ''Scooby-Doo! Mystery Incorporated'', which premiered in 2010. This is despite Velma and Shaggy having a romantic relationship during the show, although Velma was portrayed as uncomfortable in this relationship. == Canonical Lesbianism (Trick or Treat Scooby-Doo!) == In the 2022 animated film, ''Trick or Treat Scooby-Doo!'', Velma has a crush on the female secondary antagonist Coco Diablo. Upon meeting Coco, Velma stops in her tracks and becomes infatuated. Notably, Coco mirrors many traits that appear in Velma herself, such as a turtleneck and glasses. == See Also == [[Velma Dinkley: Coded to Explicit]] [[Queer Representation in Steven Universe]] == References == <ref>https://variety.com/2022/film/news/scooby-doo-velma-lesbian-gay-1235392668/ https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/ </ref> <ref>https://variety.com/2022/film/news/scooby-doo-velma-lesbian-gay-1235392668/ https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/ </ref> 9226a520c5521d77f011a8063efaf8f408d9137e 803 801 2022-12-05T22:21:27Z Emma Kate 9 wikitext text/x-wiki Velma Dinkley is a principal character in the ''Scooby-Doo'' franchise, alongside Shaggy Rogers, Fred Jones, Daphne Blake, and their talking dog, a Great Dane named Scooby-Doo. She is usually portrayed as the “brains” of the group and often wears an orange turtleneck sweater and glass. == Introduction == Velma’s character has changed significantly throughout the many different iterations of the ''Scooby-Doo'' franchise. Since her introduction in the 1969 animated series, ''Scooby-Doo, Where Are You?'' Velma has been an icon for queer fans, due to her consistent worry about Daphne’s safety, her lack of interest in boys, and her nerdiness, which separates her from Daphne’s hyperfeminine nature. == Creator’s Goals == Various ''Scooby-Doo'' writers, producers, and directors have attempted to portray Velma Dinkley as attracted to women for decades. James Gunn, who directed the 2002 ''Scooby-Doo'' film and its 2004 sequel, ''Scooby-Doo 2: Monsters Unleashed'', revealed on Twitter in 2020 that Velma was “explicitly gay” in the initial script, but the studio pushed back against depictions of queer sexuality, making Velma’s queerness not only non-apparent but non-existent. Similarly, creator Tony Cervone wrote on Instagram in 2020 that Velma was written as gay in ''Scooby-Doo! Mystery Incorporated'', which premiered in 2010. This is despite Velma and Shaggy having a romantic relationship during the show, although Velma was portrayed as uncomfortable in this relationship. == Canonical Lesbianism (Trick or Treat Scooby-Doo!) == In the 2022 animated film, ''Trick or Treat Scooby-Doo!'', Velma has a crush on the female secondary antagonist Coco Diablo. Upon meeting Coco, Velma stops in her tracks and becomes infatuated. Notably, Coco mirrors many traits that appear in Velma herself, such as a turtleneck and glasses. == See Also == [[Velma Dinkley: Coded to Explicit]] [[Queer Representation in Steven Universe]] [[Representation in She-Ra and the Princesses of Power]] == References == <ref>https://variety.com/2022/film/news/scooby-doo-velma-lesbian-gay-1235392668/ https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/ </ref> <ref>https://variety.com/2022/film/news/scooby-doo-velma-lesbian-gay-1235392668/ https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/ </ref> 07663435c9192e704786108a880ef43065282837 804 803 2022-12-05T22:21:42Z Emma Kate 9 wikitext text/x-wiki Velma Dinkley is a principal character in the ''Scooby-Doo'' franchise, alongside Shaggy Rogers, Fred Jones, Daphne Blake, and their talking dog, a Great Dane named Scooby-Doo. She is usually portrayed as the “brains” of the group and often wears an orange turtleneck sweater and glass. == Introduction == Velma’s character has changed significantly throughout the many different iterations of the ''Scooby-Doo'' franchise. Since her introduction in the 1969 animated series, ''Scooby-Doo, Where Are You?'' Velma has been an icon for queer fans, due to her consistent worry about Daphne’s safety, her lack of interest in boys, and her nerdiness, which separates her from Daphne’s hyperfeminine nature. == Creator’s Goals == Various ''Scooby-Doo'' writers, producers, and directors have attempted to portray Velma Dinkley as attracted to women for decades. James Gunn, who directed the 2002 ''Scooby-Doo'' film and its 2004 sequel, ''Scooby-Doo 2: Monsters Unleashed'', revealed on Twitter in 2020 that Velma was “explicitly gay” in the initial script, but the studio pushed back against depictions of queer sexuality, making Velma’s queerness not only non-apparent but non-existent. Similarly, creator Tony Cervone wrote on Instagram in 2020 that Velma was written as gay in ''Scooby-Doo! Mystery Incorporated'', which premiered in 2010. This is despite Velma and Shaggy having a romantic relationship during the show, although Velma was portrayed as uncomfortable in this relationship. == Canonical Lesbianism (Trick or Treat Scooby-Doo!) == In the 2022 animated film, ''Trick or Treat Scooby-Doo!'', Velma has a crush on the female secondary antagonist Coco Diablo. Upon meeting Coco, Velma stops in her tracks and becomes infatuated. Notably, Coco mirrors many traits that appear in Velma herself, such as a turtleneck and glasses. == See Also == [[Velma Dinkley: Coded to Explicit]] [[Queer Representation in Steven Universe]] [[Representation in She-Ra and the Princesses of Power]] == References == <ref>https://variety.com/2022/film/news/scooby-doo-velma-lesbian-gay-1235392668/ https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/ </ref> <ref>https://variety.com/2022/film/news/scooby-doo-velma-lesbian-gay-1235392668/ https://www.digitalspy.com/tv/ustv/a35549935/scooby-doo-velma-lesbian-queer-lgbtq/ </ref> 516044d417151abefb0fc8e5aaeaeb69174621e8 0 75 800 2022-12-05T22:20:51Z Schilds 7 Created page with "=== Artist Statement === For my art project I decided to do a poem since I like writing. I chose the structure of a haiku because the short simplicity of it matched the tone I was trying to achieve. This poem depicts a sapphic love. Lily of the valley translates to “yuri” in Japanese, which can be synonymous with lesbianism. Similarly, violets are also commonly associated with lesbianism here in the states. The flower imagery bolsters the feminine energy I wanted to..." wikitext text/x-wiki === Artist Statement === For my art project I decided to do a poem since I like writing. I chose the structure of a haiku because the short simplicity of it matched the tone I was trying to achieve. This poem depicts a sapphic love. Lily of the valley translates to “yuri” in Japanese, which can be synonymous with lesbianism. Similarly, violets are also commonly associated with lesbianism here in the states. The flower imagery bolsters the feminine energy I wanted to show through in this poem. === Poem === Blooming, softly, a Lily of the valley love Two violet hearts 2fdedd84f730868fdbea6b9c1e5731e1683f91a7 802 800 2022-12-05T22:21:08Z Schilds 7 wikitext text/x-wiki === Artist Statement === For my art project I decided to do a poem since I like writing. I chose the structure of a haiku because the short simplicity of it matched the tone I was trying to achieve. This poem depicts a sapphic love. Lily of the valley translates to “yuri” in Japanese, which can be synonymous with lesbianism. Similarly, violets are also commonly associated with lesbianism here in the states. The flower imagery bolsters the feminine energy I wanted to show through in this poem. === Poem === Blooming, softly, a<br> Lily of the valley love<br> Two violet hearts cd475cbc61e5bad2f351c3d07fbe5090e89ed2d2 6 76 805 2022-12-05T22:25:38Z Jazzypug2010 16 wikitext text/x-wiki This poster describes the opportunities on how to get involved with The Dallas Way. fdf5114d70a832953fcb16cd10489d96d117f973 6 77 806 2022-12-05T22:50:26Z Chloestarcloud 11 wikitext text/x-wiki This poster is a transformational derivative of a template found on Canva.com. The poster shares information published on The Dallas Way's "Who We Are" page and includes information on how to learn more about the organization. c2e94f763dfc36fb4bb610ff79e7e4089a23d457 0 35 807 799 2022-12-05T22:50:47Z Chloestarcloud 11 /* Student Activism */ wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == Founders == "In July of 2011, Jack Evans and George Harris proposed the idea that “someone ought to collect the GLBT history of Dallas.” On Thursday, August 25, 2011, at 4PM, Jack hosted a meeting at Resource Center Dallas where he shared his idea with 17 curious attendees, who, in turn, shared colorful stories of their own. A follow-up meeting was scheduled for Thursday, Sept 15, 2011 at 6pm in the Great Room at the ilume, located at 4123 Cedar Springs (room reservation arranged by Tony Vedda, Chairman of the North Texas GLBT Chamber of Commerce). 31 enthusiastic people attended this meeting. This informal meeting was repeated, monthly, on October 20, November 10, and December 8 of 2011. Carl Parker, who realized we needed a smaller group to meet more often than the larger monthly community group meetings, gathered Mike Anglin, Buddy Mullino, and Robert Emery, along with Jack & George." Each individual holds their own role within the organization that changes over the years due to the organization growing. Written by Robert Emery == Stories == I did an internship with this organization. While I was working with the organization, I changed two individuals' oral stories into written ones. One of the individuals I worked with was Pamela Curry. She is an individual who brought the financial side of AIDS to light. Pamela Curry; Pamela Curry is a trans woman but also an activist within her community. Her story begins with a crisis of faith and ends with Pamela holding the first Transgender Day of Remembrance (TDOR) in Dallas, Texas through the Cathedral of Hope. She grew up believing in the Catholic religion. However, when she was sitting in a lecture, she noticed this crisis of faith even though she had been struggling with her identity for a long time. Pamela knew it was Satan but it did not matter how many rosaries she said; the feeling did not go away. Pamela returned back to the Dallas area in 2001 after spending fourteen months in Austin trying to escape a bad relationship. This relationship was filled with alcoholism and abuse. While in Austin, she started going to church again and had her first meeting with an organization called Act Now, a national initiative that supports community groups and organizations working together to reimagine what their communities can become. At this meeting, she was told by a man that the organization did not need “her nor her kind”. When she returned to Dallas, she began attending Cathedral of Hope, which is the largest LGBTQ serving church in the world (https://cathedralofhope.com). Pamela started to get involved even though she was hesitant since she had never attended a church of this size. In November of 2001, Pamela was talking to a friend in an American Online trans chat room. This friend, who had been one of the so-called “Screaming Queens” at the Compton’s Cafeteria riots in 1966 San Francisco, introduced Pamela to Transgender Day of Remembrance, an internatinal event held annually in November to remember and memorialize thise who are killed by anti-trans violence. Shortly after this conversation, another friend of Pamela’s who lived in Houston prompted Pamela: “You’ve got that big, beatuiful church in Dallas, how come there is not Transgender Day of Remembrance?” As a new member who did not know anybody, Pamela knew she could not make it happen that year but she committed to making it happen the following year. Pamela approached an individual at the church named Linda Freeman. She told Linda she needed to make this happen but how did she do it and who did she need to talk to? Linda suggested that Pamela talked to Reverend Mona West. Pamela asked Linda to accompany her to the meeting since she did not know Reverend West. After making the meeting and giving the pitch, Reverend West agreed they needed to make this day happen. On November 24. 2002, as a result of Pamela Curry’s advocacy and action, Cathedral of Hope hosted Dallas’s first ever Transgender Day of Remembrance. 2002 was a busy year for Pamela and her community. This was the year that Sesame Workshop, the non-profit that produces the show Sesame Street, announced they were bringing a new Muppet to their South African show, Takalani Sesame: an HIV+ muppet named Kami. This character was meant to destigmatize HIV in a region that was being decimated by AIDS. The Republican party during this time signed off on the attack of Kami which is where Pamela started her activist campaign. She wrote every Republican a letter who signed off on the attack. She also sent the same copies of the letter to PBS, Public Broadcasting Service, and Sesame Workshop. Shortly after these letters, she received a call from POZ Magazine. POZ Magazine is a magazine that shares the lives of people affected by HIV/AIDS; they also share daily news, treatment options, forums. blogs, personals. Her article appeared in POZ magazine in October of 2002 titled “Mup Roar” which started with “Did she get it from Gover? We may never find out” (https://www.poz.com/article/Mup-Roar-976-7363). News of this Muppet caused a week-long uproar, in July, in the United States. The United States Sesame Workshop announced they would not be debuting this Muppet but PBS, Pat Mitchell, said he would not permanently rule out how to tell the Muppet to get on Sesame Street. HIV positive parents in the US such as Pamela Curry of Dallas, Texas called this move to be nothing but an attempt of tactical strong-arm censorship. The article Pamela wrote for POZ magazine was her first actual action for HIV advocacy and it was defending a Muppet. A couple of months after the first TDOR Pamela got invited to a meeting at HHS which is now the AIDS Coalition of Texas. She got invited because of her article on the Muppet. Compared to her last meeting where she was told they did not need her kind, at this meeting, Pamela was told by the brother of the founder that they needed everybody so she got on the bus. In January 2003, she headed to this meeting with a poster. With this poster, Pamela gave her speech. “My name is Pamela Curry, I am a forty-five year old transsexual female, a resident of the city and county of Dallas in addition to being uh well diagnosed with HIV in 97. I’m an active member of the Cathedral of Hope, the Dallas Transgender Alliance, and I want to thank Act Now for providing the means for me to be here today. We cannot afford cuts to the Texas HIV medication program. I hope you like the visual aids provided by many of the previous speakers...” Her speech continued with information about her financials with the costs of needed medications. She explained that her social security check in 2003 was a thousand four dollars and at Tom Thumb right down the street the AZT medication was one hundred and twenty-two dollars a month, her generics was three hundred and fifty dollars a month, her norvir was one hundred and twenty-eight, my ziongin was four hundred and four. With those costs, her medications already surpassed her check. The listed expenses did not include a place to live or food to eat. Before her speech, all of the news media left then reentered during. They thought all of the individuals worth taking pictures of had already gone but they captured a photo of her holding her poster. Almost every newspaper in the state had her picture on the front page and the next week she was on the front page of The Dallas Morning News. A couple of weeks after the articles she got a call asking to be a regional coordinator for ACT NOW. Pamela still received a lot of pushback in her position because they believed they did not need her “kind”. The same man from Fort Worth that told her they did not need her kind in 1999 was upset because she went over him in position, authority, and pay. Eventually, the hostility from leadership became enough and it brought her to quit. Then she received a phone call from the executive director, legislative coordinator who replaced the individual with an alcohol problem, three days later that they wanted to take her out to eat where they asked for her back. She apologized and said that she could not because she had someone in Fort Worth who would not even work for her so they created her a new position but there was still a problem. The executive director had a drug problem that led him to be fired in 2004. On January 8th, 2005, she was at a meeting at the Marriott Hotel with Reverend Culberson, Mr. Lorenzo Sia’s -a pharmaceutical representative -from El Paso, and Dr. Amid from Houston where they created a new organization. While they were speaking about a budget, someone called them from Houston and told them they needed a capital day event but they had to change their name. They had their event, Transgender Day of Remembrance, so they changed their name to Texas Age Advocacy Coalition. Articles on the majority of all past and present TDOR events can be found on https://dallasvoice.com. In 2004, Pamela was in a patient advocacy summit in Philadelphia. They interviewed her with the question, “Why do you advocate for people?” She replied with, “It’s simple. The same reason I help anybody is because someday I may be too weak, too sick, too ill to speak for myself.” When Pamela helps any of her sisters with a document for name change, gender marker change, or anything when they always come back and ask how they could thank her. Pamela tells and encourages all to empower and help someone else! == How to Become Involved == Their website gives many options to become involved in their organization. Some of their listings even include what your money would be going to which is neat to see. One of the easiest ways to become involved is to be a member. The members range from student, scholar, librarian, curator, archivist, and historian. Student is the cheapest rate with each gradually increasing from there in value and work it can produce. For example, the student membership is thirty-five dollars and helps create one page for the archives. If someone does not want to identify themselves as a member, they can also choose to be a donor with any amount they choose. The other option that requires no money is volunteering for the organization. Money donations go towards, but not limited to, the website, invitations to events, events, video equipment, UNT, etc. == Student Activism == In an effort to further promote the Dallas Way's non-profit organization, students in the [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics course at TCU, worked collaboratively on an art and activism campaign to bring awareness to the Dallas Way non-profit organization. The campaign's mission is to push to engage the 18-24 year old demographic in the Fort Worth area and encourage Texas Christian University students to donate to the Dallas Way. [[File:Cloud Who We Are The Dallas Way Flyer.png|thumb|Who We Are: The Dallas Way]] '''Artist Statement: Chloe Cloud''' * After deliberating with my group working to promote The Dallas Way as our Art and Activism campaign project, I started communicating with a member of The Dallas Way who is a professor at Texas Christian University. I sent him an email asking what he believed should be highlighted about the organization, and he said that we should work to promote The Dallas Way's Scholar program, their volunteer program, some personal stories, and of course, promote the foundation itself. After breaking up each section he emphasized, I was assigned to cover The Dallas Way's foundational or general information. For my art, I designed a digital poster based on the organization's "Who We Are" page. The poster included information on The Dallas Way's "Five W's" (Who, What, Where, When, Why). I promoted their efforts of sharing personal stories and historical archives as well as their effort to host volunteer and community events benefitting the LGBTQ+ community. I also inserted the organization's mission: ''"The mission of The Dallas Way is to gather, organize, store and present the complete LGBTQ history of Dallas, Texas."'' Beneath the mission statement, I inserted a "learn more" section to share their website name and attached a QR code linking to The Dallas Way's "Who We Are" page on their website. For the art, I chose to work with a dark and warm color scheme matching the organization's website colors: fuchsia, deep purple, and deep blue. In the center of the poster, I overlayed a Fushia pegasus over a multi-colored, irregularly shaped graphic to, again, draw attention to The Dallas Way since they use a pegasus as their organization logo, which represents the uniqueness and individuality of the members of the queer community. [[File:Dallas Way Activism Poster.jpg|thumb]] '''Artist Statement: Dania Kreisl''' * For my art, I created a poster with information on becoming a scholar at The Dallas Way. I provided background information on The Dallas Way and why the organization is important to those of the LGBTQ community and their impact on keeping the history of this community in this area alive for others to learn about. I created a QR code that takes you to the page to learn more about donating to become a scholar and what all that means and the act of being able to donate. I used bright colors and an interesting font for the title of the poster to grab people’s attention and draw them in to really take in what the poster is saying. I kept the art simple to allow the attention to be drawn into more as to what the words are saying not just pictures. '''Artist Statement: Jessica Schaffer''' * We decided as a group to design posters to promote The Dallas Way to the public. For my specific artwork, I wanted to focus on how the public can get involved in supporting The Dallas Way through volunteering. In my poster, I included the a list of benefits of volunteering at The Dallas Way. I noted that contributing to this important cause is a great way to make a difference in the LGBTQ community in Dallas, TX. I also included The Dallas Way's mission statement on the poster to give information about the magazine to promote involvement. In the overall design of the poster, I wanted to show The Dallas Way's logo, displayed on an ipad graphic, to entice the public to get involved and volunteer. Lastly, I included a QR code that is linked to the volunteer page that way it is easy for the public to access the volunteer page on The Dallas Way's website. '''Artist Statement: Ariel Wilder''' * Bulleted list item == Photos == == References == <references/> 3bf5d9113612016f01f84c4c472e91c7eeb0b488 812 807 2022-12-05T23:29:10Z Jazzypug2010 16 /* Student Activism */ wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == Founders == "In July of 2011, Jack Evans and George Harris proposed the idea that “someone ought to collect the GLBT history of Dallas.” On Thursday, August 25, 2011, at 4PM, Jack hosted a meeting at Resource Center Dallas where he shared his idea with 17 curious attendees, who, in turn, shared colorful stories of their own. A follow-up meeting was scheduled for Thursday, Sept 15, 2011 at 6pm in the Great Room at the ilume, located at 4123 Cedar Springs (room reservation arranged by Tony Vedda, Chairman of the North Texas GLBT Chamber of Commerce). 31 enthusiastic people attended this meeting. This informal meeting was repeated, monthly, on October 20, November 10, and December 8 of 2011. Carl Parker, who realized we needed a smaller group to meet more often than the larger monthly community group meetings, gathered Mike Anglin, Buddy Mullino, and Robert Emery, along with Jack & George." Each individual holds their own role within the organization that changes over the years due to the organization growing. Written by Robert Emery == Stories == I did an internship with this organization. While I was working with the organization, I changed two individuals' oral stories into written ones. One of the individuals I worked with was Pamela Curry. She is an individual who brought the financial side of AIDS to light. Pamela Curry; Pamela Curry is a trans woman but also an activist within her community. Her story begins with a crisis of faith and ends with Pamela holding the first Transgender Day of Remembrance (TDOR) in Dallas, Texas through the Cathedral of Hope. She grew up believing in the Catholic religion. However, when she was sitting in a lecture, she noticed this crisis of faith even though she had been struggling with her identity for a long time. Pamela knew it was Satan but it did not matter how many rosaries she said; the feeling did not go away. Pamela returned back to the Dallas area in 2001 after spending fourteen months in Austin trying to escape a bad relationship. This relationship was filled with alcoholism and abuse. While in Austin, she started going to church again and had her first meeting with an organization called Act Now, a national initiative that supports community groups and organizations working together to reimagine what their communities can become. At this meeting, she was told by a man that the organization did not need “her nor her kind”. When she returned to Dallas, she began attending Cathedral of Hope, which is the largest LGBTQ serving church in the world (https://cathedralofhope.com). Pamela started to get involved even though she was hesitant since she had never attended a church of this size. In November of 2001, Pamela was talking to a friend in an American Online trans chat room. This friend, who had been one of the so-called “Screaming Queens” at the Compton’s Cafeteria riots in 1966 San Francisco, introduced Pamela to Transgender Day of Remembrance, an internatinal event held annually in November to remember and memorialize thise who are killed by anti-trans violence. Shortly after this conversation, another friend of Pamela’s who lived in Houston prompted Pamela: “You’ve got that big, beatuiful church in Dallas, how come there is not Transgender Day of Remembrance?” As a new member who did not know anybody, Pamela knew she could not make it happen that year but she committed to making it happen the following year. Pamela approached an individual at the church named Linda Freeman. She told Linda she needed to make this happen but how did she do it and who did she need to talk to? Linda suggested that Pamela talked to Reverend Mona West. Pamela asked Linda to accompany her to the meeting since she did not know Reverend West. After making the meeting and giving the pitch, Reverend West agreed they needed to make this day happen. On November 24. 2002, as a result of Pamela Curry’s advocacy and action, Cathedral of Hope hosted Dallas’s first ever Transgender Day of Remembrance. 2002 was a busy year for Pamela and her community. This was the year that Sesame Workshop, the non-profit that produces the show Sesame Street, announced they were bringing a new Muppet to their South African show, Takalani Sesame: an HIV+ muppet named Kami. This character was meant to destigmatize HIV in a region that was being decimated by AIDS. The Republican party during this time signed off on the attack of Kami which is where Pamela started her activist campaign. She wrote every Republican a letter who signed off on the attack. She also sent the same copies of the letter to PBS, Public Broadcasting Service, and Sesame Workshop. Shortly after these letters, she received a call from POZ Magazine. POZ Magazine is a magazine that shares the lives of people affected by HIV/AIDS; they also share daily news, treatment options, forums. blogs, personals. Her article appeared in POZ magazine in October of 2002 titled “Mup Roar” which started with “Did she get it from Gover? We may never find out” (https://www.poz.com/article/Mup-Roar-976-7363). News of this Muppet caused a week-long uproar, in July, in the United States. The United States Sesame Workshop announced they would not be debuting this Muppet but PBS, Pat Mitchell, said he would not permanently rule out how to tell the Muppet to get on Sesame Street. HIV positive parents in the US such as Pamela Curry of Dallas, Texas called this move to be nothing but an attempt of tactical strong-arm censorship. The article Pamela wrote for POZ magazine was her first actual action for HIV advocacy and it was defending a Muppet. A couple of months after the first TDOR Pamela got invited to a meeting at HHS which is now the AIDS Coalition of Texas. She got invited because of her article on the Muppet. Compared to her last meeting where she was told they did not need her kind, at this meeting, Pamela was told by the brother of the founder that they needed everybody so she got on the bus. In January 2003, she headed to this meeting with a poster. With this poster, Pamela gave her speech. “My name is Pamela Curry, I am a forty-five year old transsexual female, a resident of the city and county of Dallas in addition to being uh well diagnosed with HIV in 97. I’m an active member of the Cathedral of Hope, the Dallas Transgender Alliance, and I want to thank Act Now for providing the means for me to be here today. We cannot afford cuts to the Texas HIV medication program. I hope you like the visual aids provided by many of the previous speakers...” Her speech continued with information about her financials with the costs of needed medications. She explained that her social security check in 2003 was a thousand four dollars and at Tom Thumb right down the street the AZT medication was one hundred and twenty-two dollars a month, her generics was three hundred and fifty dollars a month, her norvir was one hundred and twenty-eight, my ziongin was four hundred and four. With those costs, her medications already surpassed her check. The listed expenses did not include a place to live or food to eat. Before her speech, all of the news media left then reentered during. They thought all of the individuals worth taking pictures of had already gone but they captured a photo of her holding her poster. Almost every newspaper in the state had her picture on the front page and the next week she was on the front page of The Dallas Morning News. A couple of weeks after the articles she got a call asking to be a regional coordinator for ACT NOW. Pamela still received a lot of pushback in her position because they believed they did not need her “kind”. The same man from Fort Worth that told her they did not need her kind in 1999 was upset because she went over him in position, authority, and pay. Eventually, the hostility from leadership became enough and it brought her to quit. Then she received a phone call from the executive director, legislative coordinator who replaced the individual with an alcohol problem, three days later that they wanted to take her out to eat where they asked for her back. She apologized and said that she could not because she had someone in Fort Worth who would not even work for her so they created her a new position but there was still a problem. The executive director had a drug problem that led him to be fired in 2004. On January 8th, 2005, she was at a meeting at the Marriott Hotel with Reverend Culberson, Mr. Lorenzo Sia’s -a pharmaceutical representative -from El Paso, and Dr. Amid from Houston where they created a new organization. While they were speaking about a budget, someone called them from Houston and told them they needed a capital day event but they had to change their name. They had their event, Transgender Day of Remembrance, so they changed their name to Texas Age Advocacy Coalition. Articles on the majority of all past and present TDOR events can be found on https://dallasvoice.com. In 2004, Pamela was in a patient advocacy summit in Philadelphia. They interviewed her with the question, “Why do you advocate for people?” She replied with, “It’s simple. The same reason I help anybody is because someday I may be too weak, too sick, too ill to speak for myself.” When Pamela helps any of her sisters with a document for name change, gender marker change, or anything when they always come back and ask how they could thank her. Pamela tells and encourages all to empower and help someone else! == How to Become Involved == Their website gives many options to become involved in their organization. Some of their listings even include what your money would be going to which is neat to see. One of the easiest ways to become involved is to be a member. The members range from student, scholar, librarian, curator, archivist, and historian. Student is the cheapest rate with each gradually increasing from there in value and work it can produce. For example, the student membership is thirty-five dollars and helps create one page for the archives. If someone does not want to identify themselves as a member, they can also choose to be a donor with any amount they choose. The other option that requires no money is volunteering for the organization. Money donations go towards, but not limited to, the website, invitations to events, events, video equipment, UNT, etc. [[File:The Dallas Way Volunteer .jpg|thumb]] == Student Activism == In an effort to further promote the Dallas Way's non-profit organization, students in the [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics course at TCU, worked collaboratively on an art and activism campaign to bring awareness to the Dallas Way non-profit organization. The campaign's mission is to push to engage the 18-24 year old demographic in the Fort Worth area and encourage Texas Christian University students to donate to the Dallas Way. [[File:Cloud Who We Are The Dallas Way Flyer.png|thumb|Who We Are: The Dallas Way]] '''Artist Statement: Chloe Cloud''' * After deliberating with my group working to promote The Dallas Way as our Art and Activism campaign project, I started communicating with a member of The Dallas Way who is a professor at Texas Christian University. I sent him an email asking what he believed should be highlighted about the organization, and he said that we should work to promote The Dallas Way's Scholar program, their volunteer program, some personal stories, and of course, promote the foundation itself. After breaking up each section he emphasized, I was assigned to cover The Dallas Way's foundational or general information. For my art, I designed a digital poster based on the organization's "Who We Are" page. The poster included information on The Dallas Way's "Five W's" (Who, What, Where, When, Why). I promoted their efforts of sharing personal stories and historical archives as well as their effort to host volunteer and community events benefitting the LGBTQ+ community. I also inserted the organization's mission: ''"The mission of The Dallas Way is to gather, organize, store and present the complete LGBTQ history of Dallas, Texas."'' Beneath the mission statement, I inserted a "learn more" section to share their website name and attached a QR code linking to The Dallas Way's "Who We Are" page on their website. For the art, I chose to work with a dark and warm color scheme matching the organization's website colors: fuchsia, deep purple, and deep blue. In the center of the poster, I overlayed a Fushia pegasus over a multi-colored, irregularly shaped graphic to, again, draw attention to The Dallas Way since they use a pegasus as their organization logo, which represents the uniqueness and individuality of the members of the queer community. [[File:Dallas Way Activism Poster.jpg|thumb]] '''Artist Statement: Dania Kreisl''' * For my art, I created a poster with information on becoming a scholar at The Dallas Way. I provided background information on The Dallas Way and why the organization is important to those of the LGBTQ community and their impact on keeping the history of this community in this area alive for others to learn about. I created a QR code that takes you to the page to learn more about donating to become a scholar and what all that means and the act of being able to donate. I used bright colors and an interesting font for the title of the poster to grab people’s attention and draw them in to really take in what the poster is saying. I kept the art simple to allow the attention to be drawn into more as to what the words are saying not just pictures. '''Artist Statement: Jessica Schaffer''' * We decided as a group to design posters to promote The Dallas Way to the public. For my specific artwork, I wanted to focus on how the public can get involved in supporting The Dallas Way through volunteering. In my poster, I included the a list of benefits of volunteering at The Dallas Way. I noted that contributing to this important cause is a great way to make a difference in the LGBTQ community in Dallas, TX. I also included The Dallas Way's mission statement on the poster to give information about the magazine to promote involvement. In the overall design of the poster, I wanted to show The Dallas Way's logo, displayed on an ipad graphic, to entice the public to get involved and volunteer. Lastly, I included a QR code that is linked to the volunteer page that way it is easy for the public to access the volunteer page on The Dallas Way's website. '''Artist Statement: Ariel Wilder''' * Bulleted list item == Photos == == References == <references/> b140e9db9db78b3ba2f1260a94ec1ac91521d56f 822 812 2022-12-07T22:35:49Z 138.237.15.3 0 wikitext text/x-wiki The Dallas Way == About == The Dallas Way is a non-profit organization, in Dallas, Texas, that works with the LGTBQ+ community that lives within Dallas-Fort Worth. This organization was founded in 2011 with the hopes of telling all of the communities untold stories. Not only does The Dallas Way want to tell these stories but preserve them for the future. These stories can be written, oral, or oral with video. It is up to the individual to decide how they want to tell their story. If the individual wants to tell an oral story, The Dallas Way uses one of their program called Outrageous Oral. Outrageous Oral has transformed into event nights the organization holds to invite individuals to speak at. The Dallas Way then digitizes the events in the most effective way. Individuals' archives are stored at the University of North Texas's (UNT) library located in Denton, Texas. == Founders == "In July of 2011, Jack Evans and George Harris proposed the idea that “someone ought to collect the GLBT history of Dallas.” On Thursday, August 25, 2011, at 4PM, Jack hosted a meeting at Resource Center Dallas where he shared his idea with 17 curious attendees, who, in turn, shared colorful stories of their own. A follow-up meeting was scheduled for Thursday, Sept 15, 2011 at 6pm in the Great Room at the ilume, located at 4123 Cedar Springs (room reservation arranged by Tony Vedda, Chairman of the North Texas GLBT Chamber of Commerce). 31 enthusiastic people attended this meeting. This informal meeting was repeated, monthly, on October 20, November 10, and December 8 of 2011. Carl Parker, who realized we needed a smaller group to meet more often than the larger monthly community group meetings, gathered Mike Anglin, Buddy Mullino, and Robert Emery, along with Jack & George." Each individual holds their own role within the organization that changes over the years due to the organization growing. Written by Robert Emery == Stories == I did an internship with this organization. While I was working with the organization, I changed two individuals' oral stories into written ones. One of the individuals I worked with was Pamela Curry. She is an individual who brought the financial side of AIDS to light. Pamela Curry; Pamela Curry is a trans woman but also an activist within her community. Her story begins with a crisis of faith and ends with Pamela holding the first Transgender Day of Remembrance (TDOR) in Dallas, Texas through the Cathedral of Hope. She grew up believing in the Catholic religion. However, when she was sitting in a lecture, she noticed this crisis of faith even though she had been struggling with her identity for a long time. Pamela knew it was Satan but it did not matter how many rosaries she said; the feeling did not go away. Pamela returned back to the Dallas area in 2001 after spending fourteen months in Austin trying to escape a bad relationship. This relationship was filled with alcoholism and abuse. While in Austin, she started going to church again and had her first meeting with an organization called Act Now, a national initiative that supports community groups and organizations working together to reimagine what their communities can become. At this meeting, she was told by a man that the organization did not need “her nor her kind”. When she returned to Dallas, she began attending Cathedral of Hope, which is the largest LGBTQ serving church in the world (https://cathedralofhope.com). Pamela started to get involved even though she was hesitant since she had never attended a church of this size. In November of 2001, Pamela was talking to a friend in an American Online trans chat room. This friend, who had been one of the so-called “Screaming Queens” at the Compton’s Cafeteria riots in 1966 San Francisco, introduced Pamela to Transgender Day of Remembrance, an internatinal event held annually in November to remember and memorialize thise who are killed by anti-trans violence. Shortly after this conversation, another friend of Pamela’s who lived in Houston prompted Pamela: “You’ve got that big, beatuiful church in Dallas, how come there is not Transgender Day of Remembrance?” As a new member who did not know anybody, Pamela knew she could not make it happen that year but she committed to making it happen the following year. Pamela approached an individual at the church named Linda Freeman. She told Linda she needed to make this happen but how did she do it and who did she need to talk to? Linda suggested that Pamela talked to Reverend Mona West. Pamela asked Linda to accompany her to the meeting since she did not know Reverend West. After making the meeting and giving the pitch, Reverend West agreed they needed to make this day happen. On November 24. 2002, as a result of Pamela Curry’s advocacy and action, Cathedral of Hope hosted Dallas’s first ever Transgender Day of Remembrance. 2002 was a busy year for Pamela and her community. This was the year that Sesame Workshop, the non-profit that produces the show Sesame Street, announced they were bringing a new Muppet to their South African show, Takalani Sesame: an HIV+ muppet named Kami. This character was meant to destigmatize HIV in a region that was being decimated by AIDS. The Republican party during this time signed off on the attack of Kami which is where Pamela started her activist campaign. She wrote every Republican a letter who signed off on the attack. She also sent the same copies of the letter to PBS, Public Broadcasting Service, and Sesame Workshop. Shortly after these letters, she received a call from POZ Magazine. POZ Magazine is a magazine that shares the lives of people affected by HIV/AIDS; they also share daily news, treatment options, forums. blogs, personals. Her article appeared in POZ magazine in October of 2002 titled “Mup Roar” which started with “Did she get it from Gover? We may never find out” (https://www.poz.com/article/Mup-Roar-976-7363). News of this Muppet caused a week-long uproar, in July, in the United States. The United States Sesame Workshop announced they would not be debuting this Muppet but PBS, Pat Mitchell, said he would not permanently rule out how to tell the Muppet to get on Sesame Street. HIV positive parents in the US such as Pamela Curry of Dallas, Texas called this move to be nothing but an attempt of tactical strong-arm censorship. The article Pamela wrote for POZ magazine was her first actual action for HIV advocacy and it was defending a Muppet. A couple of months after the first TDOR Pamela got invited to a meeting at HHS which is now the AIDS Coalition of Texas. She got invited because of her article on the Muppet. Compared to her last meeting where she was told they did not need her kind, at this meeting, Pamela was told by the brother of the founder that they needed everybody so she got on the bus. In January 2003, she headed to this meeting with a poster. With this poster, Pamela gave her speech. “My name is Pamela Curry, I am a forty-five year old transsexual female, a resident of the city and county of Dallas in addition to being uh well diagnosed with HIV in 97. I’m an active member of the Cathedral of Hope, the Dallas Transgender Alliance, and I want to thank Act Now for providing the means for me to be here today. We cannot afford cuts to the Texas HIV medication program. I hope you like the visual aids provided by many of the previous speakers...” Her speech continued with information about her financials with the costs of needed medications. She explained that her social security check in 2003 was a thousand four dollars and at Tom Thumb right down the street the AZT medication was one hundred and twenty-two dollars a month, her generics was three hundred and fifty dollars a month, her norvir was one hundred and twenty-eight, my ziongin was four hundred and four. With those costs, her medications already surpassed her check. The listed expenses did not include a place to live or food to eat. Before her speech, all of the news media left then reentered during. They thought all of the individuals worth taking pictures of had already gone but they captured a photo of her holding her poster. Almost every newspaper in the state had her picture on the front page and the next week she was on the front page of The Dallas Morning News. A couple of weeks after the articles she got a call asking to be a regional coordinator for ACT NOW. Pamela still received a lot of pushback in her position because they believed they did not need her “kind”. The same man from Fort Worth that told her they did not need her kind in 1999 was upset because she went over him in position, authority, and pay. Eventually, the hostility from leadership became enough and it brought her to quit. Then she received a phone call from the executive director, legislative coordinator who replaced the individual with an alcohol problem, three days later that they wanted to take her out to eat where they asked for her back. She apologized and said that she could not because she had someone in Fort Worth who would not even work for her so they created her a new position but there was still a problem. The executive director had a drug problem that led him to be fired in 2004. On January 8th, 2005, she was at a meeting at the Marriott Hotel with Reverend Culberson, Mr. Lorenzo Sia’s -a pharmaceutical representative -from El Paso, and Dr. Amid from Houston where they created a new organization. While they were speaking about a budget, someone called them from Houston and told them they needed a capital day event but they had to change their name. They had their event, Transgender Day of Remembrance, so they changed their name to Texas Age Advocacy Coalition. Articles on the majority of all past and present TDOR events can be found on https://dallasvoice.com. In 2004, Pamela was in a patient advocacy summit in Philadelphia. They interviewed her with the question, “Why do you advocate for people?” She replied with, “It’s simple. The same reason I help anybody is because someday I may be too weak, too sick, too ill to speak for myself.” When Pamela helps any of her sisters with a document for name change, gender marker change, or anything when they always come back and ask how they could thank her. Pamela tells and encourages all to empower and help someone else! == How to Become Involved == Their website gives many options to become involved in their organization. Some of their listings even include what your money would be going to which is neat to see. One of the easiest ways to become involved is to be a member. The members range from student, scholar, librarian, curator, archivist, and historian. Student is the cheapest rate with each gradually increasing from there in value and work it can produce. For example, the student membership is thirty-five dollars and helps create one page for the archives. If someone does not want to identify themselves as a member, they can also choose to be a donor with any amount they choose. The other option that requires no money is volunteering for the organization. Money donations go towards, but not limited to, the website, invitations to events, events, video equipment, UNT, etc. [[File:The Dallas Way Volunteer .jpg|thumb]] == Student Activism == In an effort to further promote the Dallas Way's non-profit organization, students in the [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics course at TCU, worked collaboratively on an art and activism campaign to bring awareness to the Dallas Way non-profit organization. The campaign's mission is to push to engage the 18-24 year old demographic in the Fort Worth area and encourage Texas Christian University students to donate to the Dallas Way. [[File:Cloud Who We Are The Dallas Way Flyer.png|thumb|Who We Are: The Dallas Way]] '''Artist Statement: Chloe Cloud''' * After deliberating with my group working to promote The Dallas Way as our Art and Activism campaign project, I started communicating with a member of The Dallas Way who is a professor at Texas Christian University. I sent him an email asking what he believed should be highlighted about the organization, and he said that we should work to promote The Dallas Way's Scholar program, their volunteer program, some personal stories, and of course, promote the foundation itself. After breaking up each section he emphasized, I was assigned to cover The Dallas Way's foundational or general information. For my art, I designed a digital poster based on the organization's "Who We Are" page. The poster included information on The Dallas Way's "Five W's" (Who, What, Where, When, Why). I promoted their efforts of sharing personal stories and historical archives as well as their effort to host volunteer and community events benefitting the LGBTQ+ community. I also inserted the organization's mission: ''"The mission of The Dallas Way is to gather, organize, store and present the complete LGBTQ history of Dallas, Texas."'' Beneath the mission statement, I inserted a "learn more" section to share their website name and attached a QR code linking to The Dallas Way's "Who We Are" page on their website. For the art, I chose to work with a dark and warm color scheme matching the organization's website colors: fuchsia, deep purple, and deep blue. In the center of the poster, I overlayed a Fushia pegasus over a multi-colored, irregularly shaped graphic to, again, draw attention to The Dallas Way since they use a pegasus as their organization logo, which represents the uniqueness and individuality of the members of the queer community. [[File:Dallas Way Activism Poster.jpg|thumb]] '''Artist Statement: Dania Kreisl''' * For my art, I created a poster with information on becoming a scholar at The Dallas Way. I provided background information on The Dallas Way and why the organization is important to those of the LGBTQ community and their impact on keeping the history of this community in this area alive for others to learn about. I created a QR code that takes you to the page to learn more about donating to become a scholar and what all that means and the act of being able to donate. I used bright colors and an interesting font for the title of the poster to grab people’s attention and draw them in to really take in what the poster is saying. I kept the art simple to allow the attention to be drawn into more as to what the words are saying not just pictures. '''Artist Statement: Jessica Schaffer''' * We decided as a group to design posters to promote The Dallas Way to the public. For my specific artwork, I wanted to focus on how the public can get involved in supporting The Dallas Way through volunteering. In my poster, I included the a list of benefits of volunteering at The Dallas Way. I noted that contributing to this important cause is a great way to make a difference in the LGBTQ community in Dallas, TX. I also included The Dallas Way's mission statement on the poster to give information about the magazine to promote involvement. In the overall design of the poster, I wanted to show The Dallas Way's logo, displayed on an ipad graphic, to entice the public to get involved and volunteer. Lastly, I included a QR code that is linked to the volunteer page that way it is easy for the public to access the volunteer page on The Dallas Way's website. '''Artist Statement: Ariel Wilder''' * For the poster I created, I wanted to focus on one of the individuals that helped to form the organization. All of the individuals that helped form the organization vastly differ in their personalities, backgrounds, etc. In such a large community, like the Dallas-Fort Worth community, it can be difficult to find someone trusted enough to open up for. The QR code leads viewers to one of the individual's story. I chose to display Mike Anglin. Mr. Anglin comes from naval background right here in Texas which I believe is an amazing way that others can connect with him! One connection can lead to life changing events! == Photos == == References == <references/> 173418c29042b58345da31ffb20a8e1d2dd541fa 0 59 808 691 2022-12-05T23:13:36Z Dkreisl 20 /* Other Sources for Further Reading */ wikitext text/x-wiki == Overview == Today, a lot, if not most of us, at least in the U.S., know more about the transgender community than we did even ten years ago. We can see through media and articles more of an insight into what happens during the transition process for people that go through this journey. With more knowledge on this topic, some people have become more aware of this process that is happening for many people and are able to learn and help because of it. While we’re learning more about the process and methods of transitioning, I think it is also important to talk about detransitioning, as some transgender people choose to do this, and most of them have the option to do so. == Possible Mindsets of Detransitioning == Detransitioning is the process of reverting back to your gender given at birth, whether if that’s man or a woman. There could be many reasons for someone wanting to go through this process; change in one’s core gender identity, or uncertainty about their gender idenity, which are internal forces driving this decision to detransition, or external forces, like pressure from family and friends, employer, and even loss of health insurance or money that goes into helping provide the services they need to keep helping them transition or stayed transitioned. While all of these forces to detransition can happen it’s important for us to allow these people who want to detransition do it for themselves and not anyone else. == Recognizing the Lack of Fluidity with Transitioning == I work at a small boutique and I had a customer on the phone this year ask me about this romper we had and gave me their sizing and shared with me that they are in the middle of becoming a woman, so they’re trying to branch out in wearing women’s clothing, but it’s difficult because of their body they were given from their gender at birth. While the customer felt comfortable enough to open up with me and share all of this with me and how much they love the process they’re going through, they also brought up how their mentor for this process brought up this point: you are so far into this process that you can never be just as you were before you started transitioning, and while the customer I was speaking with said this was a milestone for them and they were excited, it was just also kind of a reality of check of where they are in this process and how much they’re changing. And this got me thinking are there a lot of people who feel this way and it scares them into wanting to stop the process or go back to their gender from birth? And does personally being afraid of change make it harder to transition, even though you feel you are a different gender than the one you were born with? == Ellie and Nele == Both [https://www.bbc.com/news/stories-51806011 Ellie and Nele] transitioned from the gender female to male by the process of using testosterone and removing both of their breasts in mastectomy surgery. They were both agreeing that they were transgender men before they met each other. They didn’t want to be women and felt comfortable in themselves once transitioning, however, they both got diagnosed with vaginal atrophy, which is soreness and dryness in the vagina that can be a side effect of menopause or from taking testosterone, so Nele said: “I'm putting my body full of hormones, when my body can make those on its own" after trying an estrogen cream to help with this, so they both decided why not go natural for a bit and see how that works out (Pressly and Proctor 2020)? They continued even further with their detransitioning and even went back to identifying as she/her pronouns. They’ve enjoyed seeing their body change to a softer and more feminine look, but have realized that they won’t sound or look the same as they did before transitioning. But it wasn’t just the vaginal atrophy and the estrogen to fix that, it was them really looking inward and doing their research to find out what was best for themselves. Ellie did research on the culture war between trans activists and radical feminists, and while Ellie was researching she was questioning her identity as being transgender. She questioned if this was her way of going through life (Pressly and Proctor 2020). With this reflection they were experiencing about themselves they decided as I said before on trying to go back to natural instead of being on testosterone and see how that goes, and they just feel more themselves that way. This whole process of detransitioning for Ellie and Nele was their way of finding out who they truly are besides listening to social media, and feeling stuck besides removing their breasts and telling the most important people in their lives that they identify as a different gender than what they were born with. While it was a process for them to fully find themselves they are happier now and feel like their true selves. == References == <references/> <ref> Ellie and Nele: From she to he - and back to she again [https://www.bbc.com/news/stories-51806011]</ref>[https://www.bbc.com/news/stories-51806011 Ellie and Nele: From she to he - and back to she again] == Other Sources for Further Reading == [[Transition to Detransition:Twin Sisters]] [[[How Gender Dysphoria Plays to Transitioning in Older Ages|http://How%20Gender%20Dysmorphia%20Plays%20to%20Transitioning%20in%20Older%20Ages How Gender Dysmorphia Plays to Transitioning in Older Ages]]] [[Elements of Gender Identity]] 39410ba75febc6fbcae1ef265e1d8b1e0a03952d 809 808 2022-12-05T23:14:00Z Dkreisl 20 /* Other Sources for Further Reading */ wikitext text/x-wiki == Overview == Today, a lot, if not most of us, at least in the U.S., know more about the transgender community than we did even ten years ago. We can see through media and articles more of an insight into what happens during the transition process for people that go through this journey. With more knowledge on this topic, some people have become more aware of this process that is happening for many people and are able to learn and help because of it. While we’re learning more about the process and methods of transitioning, I think it is also important to talk about detransitioning, as some transgender people choose to do this, and most of them have the option to do so. == Possible Mindsets of Detransitioning == Detransitioning is the process of reverting back to your gender given at birth, whether if that’s man or a woman. There could be many reasons for someone wanting to go through this process; change in one’s core gender identity, or uncertainty about their gender idenity, which are internal forces driving this decision to detransition, or external forces, like pressure from family and friends, employer, and even loss of health insurance or money that goes into helping provide the services they need to keep helping them transition or stayed transitioned. While all of these forces to detransition can happen it’s important for us to allow these people who want to detransition do it for themselves and not anyone else. == Recognizing the Lack of Fluidity with Transitioning == I work at a small boutique and I had a customer on the phone this year ask me about this romper we had and gave me their sizing and shared with me that they are in the middle of becoming a woman, so they’re trying to branch out in wearing women’s clothing, but it’s difficult because of their body they were given from their gender at birth. While the customer felt comfortable enough to open up with me and share all of this with me and how much they love the process they’re going through, they also brought up how their mentor for this process brought up this point: you are so far into this process that you can never be just as you were before you started transitioning, and while the customer I was speaking with said this was a milestone for them and they were excited, it was just also kind of a reality of check of where they are in this process and how much they’re changing. And this got me thinking are there a lot of people who feel this way and it scares them into wanting to stop the process or go back to their gender from birth? And does personally being afraid of change make it harder to transition, even though you feel you are a different gender than the one you were born with? == Ellie and Nele == Both [https://www.bbc.com/news/stories-51806011 Ellie and Nele] transitioned from the gender female to male by the process of using testosterone and removing both of their breasts in mastectomy surgery. They were both agreeing that they were transgender men before they met each other. They didn’t want to be women and felt comfortable in themselves once transitioning, however, they both got diagnosed with vaginal atrophy, which is soreness and dryness in the vagina that can be a side effect of menopause or from taking testosterone, so Nele said: “I'm putting my body full of hormones, when my body can make those on its own" after trying an estrogen cream to help with this, so they both decided why not go natural for a bit and see how that works out (Pressly and Proctor 2020)? They continued even further with their detransitioning and even went back to identifying as she/her pronouns. They’ve enjoyed seeing their body change to a softer and more feminine look, but have realized that they won’t sound or look the same as they did before transitioning. But it wasn’t just the vaginal atrophy and the estrogen to fix that, it was them really looking inward and doing their research to find out what was best for themselves. Ellie did research on the culture war between trans activists and radical feminists, and while Ellie was researching she was questioning her identity as being transgender. She questioned if this was her way of going through life (Pressly and Proctor 2020). With this reflection they were experiencing about themselves they decided as I said before on trying to go back to natural instead of being on testosterone and see how that goes, and they just feel more themselves that way. This whole process of detransitioning for Ellie and Nele was their way of finding out who they truly are besides listening to social media, and feeling stuck besides removing their breasts and telling the most important people in their lives that they identify as a different gender than what they were born with. While it was a process for them to fully find themselves they are happier now and feel like their true selves. == References == <references/> <ref> Ellie and Nele: From she to he - and back to she again [https://www.bbc.com/news/stories-51806011]</ref>[https://www.bbc.com/news/stories-51806011 Ellie and Nele: From she to he - and back to she again] == Other Sources for Further Reading == [[Transition to Detransition:Twin Sisters]] [[How Gender Dysphoria Plays to Transitioning in Older Ages|http://How%20Gender%20Dysmorphia%20Plays%20to%20Transitioning%20in%20Older%20Ages How Gender Dysmorphia Plays to Transitioning in Older Ages]] [[Elements of Gender Identity]] 43893265ba4173343fcf4e9cdd2da3ed1a147c48 810 809 2022-12-05T23:14:52Z Dkreisl 20 /* Other Sources for Further Reading */ wikitext text/x-wiki == Overview == Today, a lot, if not most of us, at least in the U.S., know more about the transgender community than we did even ten years ago. We can see through media and articles more of an insight into what happens during the transition process for people that go through this journey. With more knowledge on this topic, some people have become more aware of this process that is happening for many people and are able to learn and help because of it. While we’re learning more about the process and methods of transitioning, I think it is also important to talk about detransitioning, as some transgender people choose to do this, and most of them have the option to do so. == Possible Mindsets of Detransitioning == Detransitioning is the process of reverting back to your gender given at birth, whether if that’s man or a woman. There could be many reasons for someone wanting to go through this process; change in one’s core gender identity, or uncertainty about their gender idenity, which are internal forces driving this decision to detransition, or external forces, like pressure from family and friends, employer, and even loss of health insurance or money that goes into helping provide the services they need to keep helping them transition or stayed transitioned. While all of these forces to detransition can happen it’s important for us to allow these people who want to detransition do it for themselves and not anyone else. == Recognizing the Lack of Fluidity with Transitioning == I work at a small boutique and I had a customer on the phone this year ask me about this romper we had and gave me their sizing and shared with me that they are in the middle of becoming a woman, so they’re trying to branch out in wearing women’s clothing, but it’s difficult because of their body they were given from their gender at birth. While the customer felt comfortable enough to open up with me and share all of this with me and how much they love the process they’re going through, they also brought up how their mentor for this process brought up this point: you are so far into this process that you can never be just as you were before you started transitioning, and while the customer I was speaking with said this was a milestone for them and they were excited, it was just also kind of a reality of check of where they are in this process and how much they’re changing. And this got me thinking are there a lot of people who feel this way and it scares them into wanting to stop the process or go back to their gender from birth? And does personally being afraid of change make it harder to transition, even though you feel you are a different gender than the one you were born with? == Ellie and Nele == Both [https://www.bbc.com/news/stories-51806011 Ellie and Nele] transitioned from the gender female to male by the process of using testosterone and removing both of their breasts in mastectomy surgery. They were both agreeing that they were transgender men before they met each other. They didn’t want to be women and felt comfortable in themselves once transitioning, however, they both got diagnosed with vaginal atrophy, which is soreness and dryness in the vagina that can be a side effect of menopause or from taking testosterone, so Nele said: “I'm putting my body full of hormones, when my body can make those on its own" after trying an estrogen cream to help with this, so they both decided why not go natural for a bit and see how that works out (Pressly and Proctor 2020)? They continued even further with their detransitioning and even went back to identifying as she/her pronouns. They’ve enjoyed seeing their body change to a softer and more feminine look, but have realized that they won’t sound or look the same as they did before transitioning. But it wasn’t just the vaginal atrophy and the estrogen to fix that, it was them really looking inward and doing their research to find out what was best for themselves. Ellie did research on the culture war between trans activists and radical feminists, and while Ellie was researching she was questioning her identity as being transgender. She questioned if this was her way of going through life (Pressly and Proctor 2020). With this reflection they were experiencing about themselves they decided as I said before on trying to go back to natural instead of being on testosterone and see how that goes, and they just feel more themselves that way. This whole process of detransitioning for Ellie and Nele was their way of finding out who they truly are besides listening to social media, and feeling stuck besides removing their breasts and telling the most important people in their lives that they identify as a different gender than what they were born with. While it was a process for them to fully find themselves they are happier now and feel like their true selves. == References == <references/> <ref> Ellie and Nele: From she to he - and back to she again [https://www.bbc.com/news/stories-51806011]</ref>[https://www.bbc.com/news/stories-51806011 Ellie and Nele: From she to he - and back to she again] == Other Sources for Further Reading == [[Transition to Detransition:Twin Sisters]] [[How Gender Dysphoria Plays to Transitioning in Older Ages]] [[Elements of Gender Identity]] a8c08e4d1fa6b390863bdbfc10fea3ee3be45bff 6 78 811 2022-12-05T23:29:04Z Jazzypug2010 16 wikitext text/x-wiki This poster was made with Canva.com. The poster promotes people to volunteer with the Dallas Way. 68b2893605df019ed579d0736623f33bce390b06 0 40 813 230 2022-12-05T23:32:16Z Jazzypug2010 16 /* Queering Through Disney's History */ wikitext text/x-wiki Throughout history, movies have been remade, revamped, and redone. The film industry is ever-changing with society. Disney, for example, has embraced remaking classic Disney movies to be more inclusive with modern day values and ideals. Through this acceptance of multiple ways of life, the film industry can evoke queer ideals within the new generation. == Queering Through Disney's History == Within Disney movies throughout history, Disney has always rejected traditional archetypes of masculinity and marriage. Pinocchio, for example, rejects typical masculine norms as he struggles to act like a “real boy”. In addition, multiple Disney characters have rejected typical marriage norms throughout history. The Beauty and the Beast’s Belle rejects Gaston’s marriage proposal; Mulan rejects the traditional matchmaking culture; Jasmine refuses to marry the sultan’s suitors- all of these characters work against traditional stereotypes. One may even say that they are queering their way through life. == Beauty and The Beast == == Aladin == == The Little Mermaid == == References == <references/> Beauty and The Beast <https://www.nbcnews.com/feature/nbc-out/beauty-beast-features-disney-s-first-gay-character-n727876> 9be508f3296af039aa512222548dc430b460aaaa 814 813 2022-12-05T23:32:39Z Jazzypug2010 16 /* Beauty and The Beast */ wikitext text/x-wiki Throughout history, movies have been remade, revamped, and redone. The film industry is ever-changing with society. Disney, for example, has embraced remaking classic Disney movies to be more inclusive with modern day values and ideals. Through this acceptance of multiple ways of life, the film industry can evoke queer ideals within the new generation. == Queering Through Disney's History == Within Disney movies throughout history, Disney has always rejected traditional archetypes of masculinity and marriage. Pinocchio, for example, rejects typical masculine norms as he struggles to act like a “real boy”. In addition, multiple Disney characters have rejected typical marriage norms throughout history. The Beauty and the Beast’s Belle rejects Gaston’s marriage proposal; Mulan rejects the traditional matchmaking culture; Jasmine refuses to marry the sultan’s suitors- all of these characters work against traditional stereotypes. One may even say that they are queering their way through life. == Beauty and The Beast == The remake of The Beauty and the Beast embraces different types of sexuality as LeFou, Gaston’s sidekick, was one of the first openly gay characters seen in a Disney film. LeFou, played by Josh Gad in the remake, represents the LGBTQ community through his acceptance of his sexuality. == Aladin == == The Little Mermaid == == References == <references/> Beauty and The Beast <https://www.nbcnews.com/feature/nbc-out/beauty-beast-features-disney-s-first-gay-character-n727876> 644f42a300ce31e7f14b1fa58b49395f2bfc6e51 815 814 2022-12-05T23:32:57Z Jazzypug2010 16 /* Aladin */ wikitext text/x-wiki Throughout history, movies have been remade, revamped, and redone. The film industry is ever-changing with society. Disney, for example, has embraced remaking classic Disney movies to be more inclusive with modern day values and ideals. Through this acceptance of multiple ways of life, the film industry can evoke queer ideals within the new generation. == Queering Through Disney's History == Within Disney movies throughout history, Disney has always rejected traditional archetypes of masculinity and marriage. Pinocchio, for example, rejects typical masculine norms as he struggles to act like a “real boy”. In addition, multiple Disney characters have rejected typical marriage norms throughout history. The Beauty and the Beast’s Belle rejects Gaston’s marriage proposal; Mulan rejects the traditional matchmaking culture; Jasmine refuses to marry the sultan’s suitors- all of these characters work against traditional stereotypes. One may even say that they are queering their way through life. == Beauty and The Beast == The remake of The Beauty and the Beast embraces different types of sexuality as LeFou, Gaston’s sidekick, was one of the first openly gay characters seen in a Disney film. LeFou, played by Josh Gad in the remake, represents the LGBTQ community through his acceptance of his sexuality. == Aladdin == During the 2019 remake of Aladdin, Disney fans were taken by surprise at the female empowerment scenes and messages throughout the movie. A new song was added to the original movie soundtrack- one that demonstrates the right to make one’s own decisions as a female. The song, “Speechless” portrays the idea that Jasmine will not be tied down by patriarchal ideals and stereotypes. In a way, the remake queers Jasmine’s character into one that overcomes any oppression or discrimination as a female. == The Little Mermaid == == References == <references/> Beauty and The Beast <https://www.nbcnews.com/feature/nbc-out/beauty-beast-features-disney-s-first-gay-character-n727876> 927f7d9ee277fc980304d8f903211c9116e925ca 816 815 2022-12-05T23:33:13Z Jazzypug2010 16 /* The Little Mermaid */ wikitext text/x-wiki Throughout history, movies have been remade, revamped, and redone. The film industry is ever-changing with society. Disney, for example, has embraced remaking classic Disney movies to be more inclusive with modern day values and ideals. Through this acceptance of multiple ways of life, the film industry can evoke queer ideals within the new generation. == Queering Through Disney's History == Within Disney movies throughout history, Disney has always rejected traditional archetypes of masculinity and marriage. Pinocchio, for example, rejects typical masculine norms as he struggles to act like a “real boy”. In addition, multiple Disney characters have rejected typical marriage norms throughout history. The Beauty and the Beast’s Belle rejects Gaston’s marriage proposal; Mulan rejects the traditional matchmaking culture; Jasmine refuses to marry the sultan’s suitors- all of these characters work against traditional stereotypes. One may even say that they are queering their way through life. == Beauty and The Beast == The remake of The Beauty and the Beast embraces different types of sexuality as LeFou, Gaston’s sidekick, was one of the first openly gay characters seen in a Disney film. LeFou, played by Josh Gad in the remake, represents the LGBTQ community through his acceptance of his sexuality. == Aladdin == During the 2019 remake of Aladdin, Disney fans were taken by surprise at the female empowerment scenes and messages throughout the movie. A new song was added to the original movie soundtrack- one that demonstrates the right to make one’s own decisions as a female. The song, “Speechless” portrays the idea that Jasmine will not be tied down by patriarchal ideals and stereotypes. In a way, the remake queers Jasmine’s character into one that overcomes any oppression or discrimination as a female. == The Little Mermaid == Diversity through race representation is vital to Disney’s evolution within the queer vision. Throughout history, Disney princesses, for example, have been typically white; however, through the queer eye, Disney has embraced race acceptance through the Disney movie remakes. For example, Disney’s The Little Mermaid, which comes out in May 2023, features Halle Bailey, a Black actress, starring as the protagonist Ariel, who is typically played by a white actress. This allows for the children of the new generation to see more races represented in typically white character movies. == References == <references/> Beauty and The Beast <https://www.nbcnews.com/feature/nbc-out/beauty-beast-features-disney-s-first-gay-character-n727876> 88c49ba9b5b4f2999c870450a8e4eff966c63896 817 816 2022-12-05T23:36:12Z Jazzypug2010 16 /* References */ wikitext text/x-wiki Throughout history, movies have been remade, revamped, and redone. The film industry is ever-changing with society. Disney, for example, has embraced remaking classic Disney movies to be more inclusive with modern day values and ideals. Through this acceptance of multiple ways of life, the film industry can evoke queer ideals within the new generation. == Queering Through Disney's History == Within Disney movies throughout history, Disney has always rejected traditional archetypes of masculinity and marriage. Pinocchio, for example, rejects typical masculine norms as he struggles to act like a “real boy”. In addition, multiple Disney characters have rejected typical marriage norms throughout history. The Beauty and the Beast’s Belle rejects Gaston’s marriage proposal; Mulan rejects the traditional matchmaking culture; Jasmine refuses to marry the sultan’s suitors- all of these characters work against traditional stereotypes. One may even say that they are queering their way through life. == Beauty and The Beast == The remake of The Beauty and the Beast embraces different types of sexuality as LeFou, Gaston’s sidekick, was one of the first openly gay characters seen in a Disney film. LeFou, played by Josh Gad in the remake, represents the LGBTQ community through his acceptance of his sexuality. == Aladdin == During the 2019 remake of Aladdin, Disney fans were taken by surprise at the female empowerment scenes and messages throughout the movie. A new song was added to the original movie soundtrack- one that demonstrates the right to make one’s own decisions as a female. The song, “Speechless” portrays the idea that Jasmine will not be tied down by patriarchal ideals and stereotypes. In a way, the remake queers Jasmine’s character into one that overcomes any oppression or discrimination as a female. == The Little Mermaid == Diversity through race representation is vital to Disney’s evolution within the queer vision. Throughout history, Disney princesses, for example, have been typically white; however, through the queer eye, Disney has embraced race acceptance through the Disney movie remakes. For example, Disney’s The Little Mermaid, which comes out in May 2023, features Halle Bailey, a Black actress, starring as the protagonist Ariel, who is typically played by a white actress. This allows for the children of the new generation to see more races represented in typically white character movies. == References == <references/> Beauty and The Beast <https://www.nbcnews.com/feature/nbc-out/beauty-beast-features-disney-s-first-gay-character-n727876> <https://www.out.com/film/2022/3/22/disneys-first-out-lgbtq-gay-characters#media-gallery-media-4> History of Queer Disney <https://www.theatlantic.com/entertainment/archive/2014/04/its-not-just-frozen-disney-has-always-been-subtly-pro-gay/361060/> Aladdin <https://belltower.mtaloy.edu/11895/perspectives/the-live-action-aladdin-and-female-empowerment/> The Little Mermaid <https://www.jstor.org/stable/40027429> d16e63f640e25a2c6f3e524bfd66100f1b89de39 0 79 818 2022-12-07T18:44:17Z 138.237.15.24 0 Created page with "== Introduction == When it comes to queer studies, especially how it appears in the Black community, a primary and indeed necessary foundation is how Black people are often left out of the history and conversation when it comes to queerness, the LGBTQ+ community, etc. When looking inside of the Black community, it is important to recognize the erasure that is practiced internally and its roots. An important foundation for understanding this concept is hallmarked by noble..." wikitext text/x-wiki == Introduction == When it comes to queer studies, especially how it appears in the Black community, a primary and indeed necessary foundation is how Black people are often left out of the history and conversation when it comes to queerness, the LGBTQ+ community, etc. When looking inside of the Black community, it is important to recognize the erasure that is practiced internally and its roots. An important foundation for understanding this concept is hallmarked by noble scholar Dwight McBride and poet Essex Hemphill. McBride opens the conversation by effectively deconstructing, referencing, and highlighting the powerful words of Hemphill’s piece titled Loyalty. In short, Hemphill explains how Black historical figures intentionally left out homosexuality and how we’re only left with two dimensional “heroes” known for being the first in science, politics, etc. == Harms of Respectability Politics == The rampant respectability politics in our community is also a big reason why you don’t hear or learn about Black homosexuality in earlier periods. A lot of Eurocentric western ideologies centered the patriarchy and black and white binaries when it comes to gender. Most Black history we learn about is these figures going to long lengths and measures to assimilate to these standards. Being that white washed Christianity was a pivotal tool to control our ancestors, there’s a reason religion and spirituality have a next level depth to us. “Whom did he love? It makes a difference” struck me hard because I find myself feeling guilty placing large value on love in my life. It also made me realize how white people are granted that opportunity and how so many of us are robbed of that or it somehow has to be conditional or political. Most of the white history we have to learn about outside of wars includes monarchs, families, etc. Where is our Black Romeo and Juliet? All of the Black history lessons are political and traumatic. This erasure erases humanness. == Bayard Rustin == Civil Rights activist. Primary organizer of march on Washington. Martin Luther King Jr’s adviser. A true trailblazer of a critical time frame for Black Americans. He began his influence once he started working for the Fellowship of Reconciliation, a nondenominational religious organization, from 1941 to 1953, and established the Congress on Racial Equality, in 1941. In 1953 was arrested and went to jail for 50 days after being caught having sex in a car with a man. This setback caused him to merge into the shadows during Civil Rights, yet he still made a huge impact. He was MLK’s right hand man and was even the primary organizer of Dr. King’s Southern Christian Leadership Conference. In 1964, he put together a day-long student boycott of New York City’s public schools to fight against the racial disparities of the system. At that time, Rustin also was President of a civil rights organization called A. Philip Randolph Institute from 1966 to 1979. His activism concluded with his involvement in the gay rights movement. He later died August 24, 1987 in New York. In 2013 he was honored with the Presidential Medal of Freedom and in 2020 Rustin was pardoned for his 1953 conviction. == Gladys Bentley == Gladys Bentley, or Bobbie Minton on stage, was known to be one of the most successful Harlem Renaissance singers and performers. She paved the way for bold overt expression of race, sexuality, and gender. Bentley established her performance career as young as sixteen in New York city. Her signature look and persona was dressing masculine in a black and white tuxedo. Author and historian Tisa Anders described her as, “the most prominent mannish lesbian of the Harlem Renaissance”. Bentley’s earliest performances took place at rent parties, buffets, and big time Harlem nightclubs in Jungle Alley. In 1928, Bentley joined Okeh Race Records and released eight singles her first year and started her own radio program shortly after. By 1933, Bentley made her way to headlining in nightclubs and theaters such as The Cotton Club and The Apollo. She started her own group with eight male dancers in drag, the star show at the well-known Ubangi Club. During the peak of her career, she was known to be dating a white woman. When Bentley moved to Los Angeles to live with her mother, her name and success made influence out there during World War II with the expansion of gay bars on the West Coast. She also joined the Excelsior label in 1945. A major shift in her public name took place when she began wearing dresses and claimed “she is a woman again” in an Ebony magazine in 1952. She married a young cook named Charles Roberts and eventually divorced him. Her final years took place at The Temple of Love in Christ, Inc. where she was on her way to ordained ministry. “Gladys Bentley died from the flu in Los Angeles in 1960 at the age of 52.” == Going Back to Queer Rhetoric == Looking at the life and journey of historical figures such as Rustin and Bentley, this highlights another perspective of disidentification and how it appears in the Black community. I found myself wondering if Gladys Bentley lived a life of queerness or felt pressured to eventually resort back to the defaults of heteronormativity in her later years. And how Rustin was pardoned over three decades after leaving this Earth. A clear slap in the face and indication to put a strife on his legacy and limit his recognition. I would have loved to learn more about Black Queer leaders for an abundance of reasons. I feel like there is this idea that the LGBTQ+ community is something of modern times and hasn’t been around for decades, possibly centuries. It’s unfair that people like Bentley and Rustin did so much for the Black community and don’t appear in the conversations of Black influential leaders and even their history is hush hush around their sexuality. Even though intersectionality was coined by a Black woman to draw attention to the multifacetedness of Black people, we still miss that mark and suddenly don’t quite understand the duality in identity when it comes to Black gay people. The wonders it would have worked for Black gay kids to see themselves in history. To know that they are not this “irrelevant subset of individuals” because of what they like and how they express themselves. Queerness as an action has always worked its way into Black activism and timeless shifts in our community point blank period. == References == <https://www.britannica.com/biography/Bayard-Rustin> <https://www.blackpast.org/african-american-history/bentley-gladys-1907-1960/> <Dwight A. McBride. "Straight Black Studies: On African American Studies, James Baldwin, and Black Queer Studies"> 23b109170a6feb0b446ce3a901443adee5836257 819 818 2022-12-07T18:45:07Z 138.237.15.24 0 /* References */ wikitext text/x-wiki == Introduction == When it comes to queer studies, especially how it appears in the Black community, a primary and indeed necessary foundation is how Black people are often left out of the history and conversation when it comes to queerness, the LGBTQ+ community, etc. When looking inside of the Black community, it is important to recognize the erasure that is practiced internally and its roots. An important foundation for understanding this concept is hallmarked by noble scholar Dwight McBride and poet Essex Hemphill. McBride opens the conversation by effectively deconstructing, referencing, and highlighting the powerful words of Hemphill’s piece titled Loyalty. In short, Hemphill explains how Black historical figures intentionally left out homosexuality and how we’re only left with two dimensional “heroes” known for being the first in science, politics, etc. == Harms of Respectability Politics == The rampant respectability politics in our community is also a big reason why you don’t hear or learn about Black homosexuality in earlier periods. A lot of Eurocentric western ideologies centered the patriarchy and black and white binaries when it comes to gender. Most Black history we learn about is these figures going to long lengths and measures to assimilate to these standards. Being that white washed Christianity was a pivotal tool to control our ancestors, there’s a reason religion and spirituality have a next level depth to us. “Whom did he love? It makes a difference” struck me hard because I find myself feeling guilty placing large value on love in my life. It also made me realize how white people are granted that opportunity and how so many of us are robbed of that or it somehow has to be conditional or political. Most of the white history we have to learn about outside of wars includes monarchs, families, etc. Where is our Black Romeo and Juliet? All of the Black history lessons are political and traumatic. This erasure erases humanness. == Bayard Rustin == Civil Rights activist. Primary organizer of march on Washington. Martin Luther King Jr’s adviser. A true trailblazer of a critical time frame for Black Americans. He began his influence once he started working for the Fellowship of Reconciliation, a nondenominational religious organization, from 1941 to 1953, and established the Congress on Racial Equality, in 1941. In 1953 was arrested and went to jail for 50 days after being caught having sex in a car with a man. This setback caused him to merge into the shadows during Civil Rights, yet he still made a huge impact. He was MLK’s right hand man and was even the primary organizer of Dr. King’s Southern Christian Leadership Conference. In 1964, he put together a day-long student boycott of New York City’s public schools to fight against the racial disparities of the system. At that time, Rustin also was President of a civil rights organization called A. Philip Randolph Institute from 1966 to 1979. His activism concluded with his involvement in the gay rights movement. He later died August 24, 1987 in New York. In 2013 he was honored with the Presidential Medal of Freedom and in 2020 Rustin was pardoned for his 1953 conviction. == Gladys Bentley == Gladys Bentley, or Bobbie Minton on stage, was known to be one of the most successful Harlem Renaissance singers and performers. She paved the way for bold overt expression of race, sexuality, and gender. Bentley established her performance career as young as sixteen in New York city. Her signature look and persona was dressing masculine in a black and white tuxedo. Author and historian Tisa Anders described her as, “the most prominent mannish lesbian of the Harlem Renaissance”. Bentley’s earliest performances took place at rent parties, buffets, and big time Harlem nightclubs in Jungle Alley. In 1928, Bentley joined Okeh Race Records and released eight singles her first year and started her own radio program shortly after. By 1933, Bentley made her way to headlining in nightclubs and theaters such as The Cotton Club and The Apollo. She started her own group with eight male dancers in drag, the star show at the well-known Ubangi Club. During the peak of her career, she was known to be dating a white woman. When Bentley moved to Los Angeles to live with her mother, her name and success made influence out there during World War II with the expansion of gay bars on the West Coast. She also joined the Excelsior label in 1945. A major shift in her public name took place when she began wearing dresses and claimed “she is a woman again” in an Ebony magazine in 1952. She married a young cook named Charles Roberts and eventually divorced him. Her final years took place at The Temple of Love in Christ, Inc. where she was on her way to ordained ministry. “Gladys Bentley died from the flu in Los Angeles in 1960 at the age of 52.” == Going Back to Queer Rhetoric == Looking at the life and journey of historical figures such as Rustin and Bentley, this highlights another perspective of disidentification and how it appears in the Black community. I found myself wondering if Gladys Bentley lived a life of queerness or felt pressured to eventually resort back to the defaults of heteronormativity in her later years. And how Rustin was pardoned over three decades after leaving this Earth. A clear slap in the face and indication to put a strife on his legacy and limit his recognition. I would have loved to learn more about Black Queer leaders for an abundance of reasons. I feel like there is this idea that the LGBTQ+ community is something of modern times and hasn’t been around for decades, possibly centuries. It’s unfair that people like Bentley and Rustin did so much for the Black community and don’t appear in the conversations of Black influential leaders and even their history is hush hush around their sexuality. Even though intersectionality was coined by a Black woman to draw attention to the multifacetedness of Black people, we still miss that mark and suddenly don’t quite understand the duality in identity when it comes to Black gay people. The wonders it would have worked for Black gay kids to see themselves in history. To know that they are not this “irrelevant subset of individuals” because of what they like and how they express themselves. Queerness as an action has always worked its way into Black activism and timeless shifts in our community point blank period. == References == 1. https://www.britannica.com/biography/Bayard-Rustin 2. https://www.blackpast.org/african-american-history/bentley-gladys-1907-1960/ 3. Dwight A. McBride. "Straight Black Studies: On African American Studies, James Baldwin, and Black Queer Studies" adb38c40c565bf9264f6ad7e5f87e7e66e533e45 0 39 820 324 2022-12-07T22:31:39Z Chloestarcloud 11 wikitext text/x-wiki In the words of Franca Sozzani, “Fashion is a mirror of the era in which we live". Fashion is a reflection of social reality. It evolves with the world around it and has the power to tell stories of historical significance while simultaneously unfolding the future. Fashion is society. Those in the fashion industry have the responsibility to take inspiration from people across the globe just as much as they are responsible for inspiring them. But with the prevalence of social media, the line that once divided the insiders and outsiders of the fashion industry has blurred- making the industry more expansive than ever before. The industry is nowhere near where it needs to be to officially conclude that, as a whole, the fashion industry is an all-encompassing entity in terms of diversity and inclusivity. Though, obvious efforts have been made to improve fashion DEI (diversity, equity, and inclusion) in the United States. In 2020, McKinsey & Company surveyed over 1,000 working industry professionals across 41 companies, 20 stakeholder interviews, and three focus groups with college students and emerging designers to gather concrete data on how the industry is moving away from its previously exclusionary standards. The research gathered identified six areas of intervention and opportunity: Awareness, Access, Promotion, Advocacy, Compensation, and Belonging—areas in the industry that have been neglected but are now being addressed. In an interview with McKinsey & Company, Lance LaVergne, the chief diversity officer of PVH Corp, a fortune 500 company that manages fashion brands including Calvin Klein, Tommy Hilfiger, Olga, True & Co., and many more, said he believes that “the fashion industry should be as diverse as its consumers”—a goal that the industry is pushing right now. LaVergne also emphasized the importance of fashion companies utilizing young consumers and emerging fashion professionals to disrupt the status quo. (https://www.mckinsey.com/featured-insights/diversity-and-inclusion/diversity-in-fashion-voices-from-the-industry) == Shifting Industry Ideals == The massive shift caused by technological development has forced the fashion industry to dismantle, which in this case, is a good thing. The fashion industry has officially entered its metamorphosis. Unlike in the past, the industry now must deeply consider public scrutiny, forcing those who are the industry’s spokespersons to make representation a top priority because if their top-named brand is not doing it, a smaller company on Instagram is. At the end of the day, fashion is subjective. With the combination of digital media expansion and the ability for anyone to consider themselves a fashion expert, people with no professional ties to the industry have been able to penetrate the fashion dominion. Around the world, small brands, young designers, and those who simply take an interest in fashion have contributed to this new fashion revolution— one that demands diversity, inclusivity, and social progress. The current ideal for those interested in fashion has shifted as well. It is no longer a goal to attain the look of the few reigning at the top of the fashion pyramid— that pyramid has begun to widen due to the addition of thousands of smaller brands, micro-influencers, and self-proclaimed fashion gurus. What everyone yearns for now is to celebrate their individuality. Because of this, brands have needed to learn how to be more adaptive and creative than ever before to ensure that they are exceeding the expectations of a “woke” generation. A hard task, sure, but an essential one. Out of 1,000 fashion industry employees surveyed by McKinsey & Company in 2020, 60% of respondents agreed that their companies have undertaken internal or external DEI actions. (McKinsey, 2020). Though, McKinsey and Company also noted that certain groups questioned their company’s meritocracy. In the survey, 23% of employees of color disagreed with the statement “the best opportunities go to the best people”, 24% LGBTQ+ employees also disagreed with this statement. When respondents were asked what the greatest challenges preventing DEI in the industry were, their answers fell relatively consistent when comparing the total number of respondents (1,081) to the percentage of POC respondents (372). The two most prevalent challenges highlighted by POC respondents were 1. “Persons of color don’t receive as much sponsorship.” Of the 372 respondents, 28% found this statement to be true. 2. “Persons of color are judged by different standards.” Of the 372 respondents, 25% found this statement to be true. Out of the total number of surveyed professionals, 78% disagreed with the statement that “there is already strong racial/ethnic diversity in management at your company,”. In the same study, nearly a quarter of respondents observed biased behavior. The study surveyed 265 respondents to conclude which personal characteristic biased behavior is most frequently directed towards: 1. Race/ethnicity (56%) 2. Physical appearance (43%) 3. Social class (26%) 4. Age (23%) 5. Gender identity (22%) 6. Sexual orientation (12%) 7. Not typically about any particular personal characteristic (7%) 8. Disability (2%) 9. Other (3%) 10. None of the above (4%) Furthermore, McKinsey & Company reported that 67% of Black and 65% of LGBTQ+ employees reported the highest rates of experiencing microaggressions were primarily made about competence. 18% of LGBTQ+ respondents also reported that they would not recommend others like them to apply for a job in the fashion industry, and 16% of Black employees reported the same. https://www.harpersbazaar.com/fashion/fashion-week/a14343/fashion-industry-changes/ Direct quotes from fashion industry executives (2020) https://www.tandfonline.com/doi/abs/10.1080/20932685.2012.10593108?cookieSet=1 Sustainability in fashion, Small brands going against the grain. == Fashion Brands and Designers == * Thom Browne: The Thom Browne Tartan collection exhibits multiple unisex pieces made of his signature gray and navy tartan, successfully addressing the arbitrariness of gendered clothing. * YVMIN: The jewelry brand that made wearable art out of prosthetics, giving amputees the ability to add style to their artificial limbs. * Karoline Vitto: A womenswear brand that prioritizes the accentuation of curves and celebration of folds on a feminine body. * Collina Strada: A clothing brand that loves to admit it is on its sustainable fashion journey. == Models and Influencers == * Aaron Rose Phillips: An Antiguan-American model who became the first black, transgender, and physically disabled model to be represented by a major modeling agency, recently seen in Moschino’s AW20 show. * Sofia Jirau: The Puerto Rican model who just became Victoria's Secret first model with down syndrome. == References == <references/>https://www.vogue.com/fashion fb3e6bc1d7c44bfba7236c5350f3bded0fe265b2 821 820 2022-12-07T22:33:19Z Chloestarcloud 11 /* Shifting Industry Ideals */ wikitext text/x-wiki In the words of Franca Sozzani, “Fashion is a mirror of the era in which we live". Fashion is a reflection of social reality. It evolves with the world around it and has the power to tell stories of historical significance while simultaneously unfolding the future. Fashion is society. Those in the fashion industry have the responsibility to take inspiration from people across the globe just as much as they are responsible for inspiring them. But with the prevalence of social media, the line that once divided the insiders and outsiders of the fashion industry has blurred- making the industry more expansive than ever before. The industry is nowhere near where it needs to be to officially conclude that, as a whole, the fashion industry is an all-encompassing entity in terms of diversity and inclusivity. Though, obvious efforts have been made to improve fashion DEI (diversity, equity, and inclusion) in the United States. In 2020, McKinsey & Company surveyed over 1,000 working industry professionals across 41 companies, 20 stakeholder interviews, and three focus groups with college students and emerging designers to gather concrete data on how the industry is moving away from its previously exclusionary standards. The research gathered identified six areas of intervention and opportunity: Awareness, Access, Promotion, Advocacy, Compensation, and Belonging—areas in the industry that have been neglected but are now being addressed. In an interview with McKinsey & Company, Lance LaVergne, the chief diversity officer of PVH Corp, a fortune 500 company that manages fashion brands including Calvin Klein, Tommy Hilfiger, Olga, True & Co., and many more, said he believes that “the fashion industry should be as diverse as its consumers”—a goal that the industry is pushing right now. LaVergne also emphasized the importance of fashion companies utilizing young consumers and emerging fashion professionals to disrupt the status quo. (https://www.mckinsey.com/featured-insights/diversity-and-inclusion/diversity-in-fashion-voices-from-the-industry) == Shifting Industry Ideals == The massive shift caused by technological development has forced the fashion industry to dismantle, which in this case, is a good thing. The fashion industry has officially entered its metamorphosis. Unlike in the past, the industry now must deeply consider public scrutiny, forcing those who are the industry’s spokespersons to make representation a top priority because if their top-named brand is not doing it, a smaller company on Instagram is. At the end of the day, fashion is subjective. With the combination of digital media expansion and the ability for anyone to consider themselves a fashion expert, people with no professional ties to the industry have been able to penetrate the fashion dominion. Around the world, small brands, young designers, and those who simply take an interest in fashion have contributed to this new fashion revolution— one that demands diversity, inclusivity, and social progress. The current ideal for those interested in fashion has shifted as well. It is no longer a goal to attain the look of the few reigning at the top of the fashion pyramid— that pyramid has begun to widen due to the addition of thousands of smaller brands, micro-influencers, and self-proclaimed fashion gurus. What everyone yearns for now is to celebrate their individuality. Because of this, brands have needed to learn how to be more adaptive and creative than ever before to ensure that they are exceeding the expectations of a “woke” generation. A hard task, sure, but an essential one. Out of 1,000 fashion industry employees surveyed by McKinsey & Company in 2020, 60% of respondents agreed that their companies have undertaken internal or external DEI actions. (McKinsey, 2020). Though, McKinsey and Company also noted that certain groups questioned their company’s meritocracy. In the survey, 23% of employees of color disagreed with the statement “the best opportunities go to the best people”, 24% LGBTQ+ employees also disagreed with this statement. When respondents were asked what the greatest challenges preventing DEI in the industry were, their answers fell relatively consistent when comparing the total number of respondents (1,081) to the percentage of POC respondents (372). The two most prevalent challenges highlighted by POC respondents were: # “Persons of color don’t receive as much sponsorship.” Of the 372 respondents, 28% found this statement to be true. 2. “Persons of color are judged by different standards.” Of the 372 respondents, 25% found this statement to be true. Out of the total number of surveyed professionals, 78% disagreed with the statement that “there is already strong racial/ethnic diversity in management at your company,”. In the same study, nearly a quarter of respondents observed biased behavior. The study surveyed 265 respondents to conclude which personal characteristic biased behavior is most frequently directed towards: 1. Race/ethnicity (56%) 2. Physical appearance (43%) 3. Social class (26%) 4. Age (23%) 5. Gender identity (22%) 6. Sexual orientation (12%) 7. Not typically about any particular personal characteristic (7%) 8. Disability (2%) 9. Other (3%) 10. None of the above (4%) Furthermore, McKinsey & Company reported that 67% of Black and 65% of LGBTQ+ employees reported the highest rates of experiencing microaggressions were primarily made about competence. 18% of LGBTQ+ respondents also reported that they would not recommend others like them to apply for a job in the fashion industry, and 16% of Black employees reported the same. https://www.harpersbazaar.com/fashion/fashion-week/a14343/fashion-industry-changes/ Direct quotes from fashion industry executives (2020) https://www.tandfonline.com/doi/abs/10.1080/20932685.2012.10593108?cookieSet=1 Sustainability in fashion, Small brands going against the grain. == Fashion Brands and Designers == * Thom Browne: The Thom Browne Tartan collection exhibits multiple unisex pieces made of his signature gray and navy tartan, successfully addressing the arbitrariness of gendered clothing. * YVMIN: The jewelry brand that made wearable art out of prosthetics, giving amputees the ability to add style to their artificial limbs. * Karoline Vitto: A womenswear brand that prioritizes the accentuation of curves and celebration of folds on a feminine body. * Collina Strada: A clothing brand that loves to admit it is on its sustainable fashion journey. == Models and Influencers == * Aaron Rose Phillips: An Antiguan-American model who became the first black, transgender, and physically disabled model to be represented by a major modeling agency, recently seen in Moschino’s AW20 show. * Sofia Jirau: The Puerto Rican model who just became Victoria's Secret first model with down syndrome. == References == <references/>https://www.vogue.com/fashion d049d6f8458ead999e00197e42ea66b6f1988190 823 821 2022-12-07T22:36:05Z Chloestarcloud 11 /* Shifting Industry Ideals */ wikitext text/x-wiki In the words of Franca Sozzani, “Fashion is a mirror of the era in which we live". Fashion is a reflection of social reality. It evolves with the world around it and has the power to tell stories of historical significance while simultaneously unfolding the future. Fashion is society. Those in the fashion industry have the responsibility to take inspiration from people across the globe just as much as they are responsible for inspiring them. But with the prevalence of social media, the line that once divided the insiders and outsiders of the fashion industry has blurred- making the industry more expansive than ever before. The industry is nowhere near where it needs to be to officially conclude that, as a whole, the fashion industry is an all-encompassing entity in terms of diversity and inclusivity. Though, obvious efforts have been made to improve fashion DEI (diversity, equity, and inclusion) in the United States. In 2020, McKinsey & Company surveyed over 1,000 working industry professionals across 41 companies, 20 stakeholder interviews, and three focus groups with college students and emerging designers to gather concrete data on how the industry is moving away from its previously exclusionary standards. The research gathered identified six areas of intervention and opportunity: Awareness, Access, Promotion, Advocacy, Compensation, and Belonging—areas in the industry that have been neglected but are now being addressed. In an interview with McKinsey & Company, Lance LaVergne, the chief diversity officer of PVH Corp, a fortune 500 company that manages fashion brands including Calvin Klein, Tommy Hilfiger, Olga, True & Co., and many more, said he believes that “the fashion industry should be as diverse as its consumers”—a goal that the industry is pushing right now. LaVergne also emphasized the importance of fashion companies utilizing young consumers and emerging fashion professionals to disrupt the status quo. (https://www.mckinsey.com/featured-insights/diversity-and-inclusion/diversity-in-fashion-voices-from-the-industry) == Shifting Industry Ideals == The massive shift caused by technological development has forced the fashion industry to dismantle, which in this case, is a good thing. The fashion industry has officially entered its metamorphosis. Unlike in the past, the industry now must deeply consider public scrutiny, forcing those who are the industry’s spokespersons to make representation a top priority because if their top-named brand is not doing it, a smaller company on Instagram is. At the end of the day, fashion is subjective. With the combination of digital media expansion and the ability for anyone to consider themselves a fashion expert, people with no professional ties to the industry have been able to penetrate the fashion dominion. Around the world, small brands, young designers, and those who simply take an interest in fashion have contributed to this new fashion revolution— one that demands diversity, inclusivity, and social progress. The current ideal for those interested in fashion has shifted as well. It is no longer a goal to attain the look of the few reigning at the top of the fashion pyramid— that pyramid has begun to widen due to the addition of thousands of smaller brands, micro-influencers, and self-proclaimed fashion gurus. What everyone yearns for now is to celebrate their individuality. Because of this, brands have needed to learn how to be more adaptive and creative than ever before to ensure that they are exceeding the expectations of a “woke” generation. A hard task, sure, but an essential one. Out of 1,000 fashion industry employees surveyed by McKinsey & Company in 2020, 60% of respondents agreed that their companies have undertaken internal or external DEI actions. (McKinsey, 2020). Though, McKinsey and Company also noted that certain groups questioned their company’s meritocracy. In the survey, 23% of employees of color disagreed with the statement “the best opportunities go to the best people”, 24% LGBTQ+ employees also disagreed with this statement. When respondents were asked what the greatest challenges preventing DEI in the industry were, their answers fell relatively consistent when comparing the total number of respondents (1,081) to the percentage of POC respondents (372). The two most prevalent challenges highlighted by POC respondents were: # “Persons of color don’t receive as much sponsorship.” Of the 372 respondents, 28% found this statement to be true. # “Persons of color are judged by different standards.” Of the 372 respondents, 25% found this statement to be true. Out of the total number of surveyed professionals, 78% disagreed with the statement that “there is already strong racial/ethnic diversity in management at your company.” In the same study, nearly a quarter of respondents observed biased behavior. The study surveyed 265 respondents to conclude which personal characteristic-biased behavior is most frequently directed towards: * Race/ethnicity (56%) * Physical appearance (43%) * Social class (26%) * Age (23%) * Gender identity (22%) * Sexual orientation (12%) * Not typically about any particular personal characteristic (7%) * Disability (2%) * Other (3%) * None of the above (4%) Furthermore, McKinsey & Company reported that 67% of Black and 65% of LGBTQ+ employees reported the highest rates of experiencing microaggressions were primarily made about competence. 18% of LGBTQ+ respondents also reported that they would not recommend others like them to apply for a job in the fashion industry, and 16% of Black employees reported the same. https://www.harpersbazaar.com/fashion/fashion-week/a14343/fashion-industry-changes/ Direct quotes from fashion industry executives (2020) https://www.tandfonline.com/doi/abs/10.1080/20932685.2012.10593108?cookieSet=1 Sustainability in fashion, Small brands going against the grain. == Fashion Brands and Designers == * Thom Browne: The Thom Browne Tartan collection exhibits multiple unisex pieces made of his signature gray and navy tartan, successfully addressing the arbitrariness of gendered clothing. * YVMIN: The jewelry brand that made wearable art out of prosthetics, giving amputees the ability to add style to their artificial limbs. * Karoline Vitto: A womenswear brand that prioritizes the accentuation of curves and celebration of folds on a feminine body. * Collina Strada: A clothing brand that loves to admit it is on its sustainable fashion journey. == Models and Influencers == * Aaron Rose Phillips: An Antiguan-American model who became the first black, transgender, and physically disabled model to be represented by a major modeling agency, recently seen in Moschino’s AW20 show. * Sofia Jirau: The Puerto Rican model who just became Victoria's Secret first model with down syndrome. == References == <references/>https://www.vogue.com/fashion ca8fc41c295ae22b17613433cf992dcf926cf226 838 823 2023-05-05T13:32:30Z Matrim112830 2 wikitext text/x-wiki In the words of Franca Sozzani, “Fashion is a mirror of the era in which we live". Fashion is a reflection of social reality. It evolves with the world around it and has the power to tell stories of historical significance while simultaneously unfolding the future. Fashion is society. Those in the fashion industry have the responsibility to take inspiration from people across the globe just as much as they are responsible for inspiring them. But with the prevalence of social media, the line that once divided the insiders and outsiders of the fashion industry has blurred- making the industry more expansive than ever before. The industry is nowhere near where it needs to be to officially conclude that, as a whole, the fashion industry is an all-encompassing entity in terms of diversity and inclusivity. Though, obvious efforts have been made to improve fashion DEI (diversity, equity, and inclusion) in the United States. In 2020, McKinsey & Company surveyed over 1,000 working industry professionals across 41 companies, 20 stakeholder interviews, and three focus groups with college students and emerging designers to gather concrete data on how the industry is moving away from its previously exclusionary standards. The research gathered identified six areas of intervention and opportunity: Awareness, Access, Promotion, Advocacy, Compensation, and Belonging—areas in the industry that have been neglected but are now being addressed. In an interview with McKinsey & Company, Lance LaVergne, the chief diversity officer of PVH Corp, a fortune 500 company that manages fashion brands including Calvin Klein, Tommy Hilfiger, Olga, True & Co., and many more, said he believes that “the fashion industry should be as diverse as its consumers”—a goal that the industry is pushing right now. LaVergne also emphasized the importance of fashion companies utilizing young consumers and emerging fashion professionals to disrupt the status quo. (https://www.mckinsey.com/featured-insights/diversity-and-inclusion/diversity-in-fashion-voices-from-the-industry) __TOC__ == Shifting Industry Ideals == The massive shift caused by technological development has forced the fashion industry to dismantle, which in this case, is a good thing. The fashion industry has officially entered its metamorphosis. Unlike in the past, the industry now must deeply consider public scrutiny, forcing those who are the industry’s spokespersons to make representation a top priority because if their top-named brand is not doing it, a smaller company on Instagram is. At the end of the day, fashion is subjective. With the combination of digital media expansion and the ability for anyone to consider themselves a fashion expert, people with no professional ties to the industry have been able to penetrate the fashion dominion. Around the world, small brands, young designers, and those who simply take an interest in fashion have contributed to this new fashion revolution— one that demands diversity, inclusivity, and social progress. The current ideal for those interested in fashion has shifted as well. It is no longer a goal to attain the look of the few reigning at the top of the fashion pyramid— that pyramid has begun to widen due to the addition of thousands of smaller brands, micro-influencers, and self-proclaimed fashion gurus. What everyone yearns for now is to celebrate their individuality. Because of this, brands have needed to learn how to be more adaptive and creative than ever before to ensure that they are exceeding the expectations of a “woke” generation. A hard task, sure, but an essential one. Out of 1,000 fashion industry employees surveyed by McKinsey & Company in 2020, 60% of respondents agreed that their companies have undertaken internal or external DEI actions. (McKinsey, 2020). Though, McKinsey and Company also noted that certain groups questioned their company’s meritocracy. In the survey, 23% of employees of color disagreed with the statement “the best opportunities go to the best people”, 24% LGBTQ+ employees also disagreed with this statement. When respondents were asked what the greatest challenges preventing DEI in the industry were, their answers fell relatively consistent when comparing the total number of respondents (1,081) to the percentage of POC respondents (372). The two most prevalent challenges highlighted by POC respondents were: # “Persons of color don’t receive as much sponsorship.” Of the 372 respondents, 28% found this statement to be true. # “Persons of color are judged by different standards.” Of the 372 respondents, 25% found this statement to be true. Out of the total number of surveyed professionals, 78% disagreed with the statement that “there is already strong racial/ethnic diversity in management at your company.” In the same study, nearly a quarter of respondents observed biased behavior. The study surveyed 265 respondents to conclude which personal characteristic-biased behavior is most frequently directed towards: * Race/ethnicity (56%) * Physical appearance (43%) * Social class (26%) * Age (23%) * Gender identity (22%) * Sexual orientation (12%) * Not typically about any particular personal characteristic (7%) * Disability (2%) * Other (3%) * None of the above (4%) Furthermore, McKinsey & Company reported that 67% of Black and 65% of LGBTQ+ employees reported the highest rates of experiencing microaggressions were primarily made about competence. 18% of LGBTQ+ respondents also reported that they would not recommend others like them to apply for a job in the fashion industry, and 16% of Black employees reported the same. https://www.harpersbazaar.com/fashion/fashion-week/a14343/fashion-industry-changes/ Direct quotes from fashion industry executives (2020) https://www.tandfonline.com/doi/abs/10.1080/20932685.2012.10593108?cookieSet=1 Sustainability in fashion, Small brands going against the grain. == Fashion Brands and Designers == * Thom Browne: The Thom Browne Tartan collection exhibits multiple unisex pieces made of his signature gray and navy tartan, successfully addressing the arbitrariness of gendered clothing. * YVMIN: The jewelry brand that made wearable art out of prosthetics, giving amputees the ability to add style to their artificial limbs. * Karoline Vitto: A womenswear brand that prioritizes the accentuation of curves and celebration of folds on a feminine body. * Collina Strada: A clothing brand that loves to admit it is on its sustainable fashion journey. == Models and Influencers == * Aaron Rose Phillips: An Antiguan-American model who became the first black, transgender, and physically disabled model to be represented by a major modeling agency, recently seen in Moschino’s AW20 show. * Sofia Jirau: The Puerto Rican model who just became Victoria's Secret first model with down syndrome. == References == <references/>https://www.vogue.com/fashion 2496a8b8da58daeaeee996313a2784c8308db066 10 184 1076 2022-12-11T06:59:53Z wikipedia>Izno 0 add this reset from mobile.css text text/plain /* {{pp-template|small=yes}} */ .plainlist ol, .plainlist ul { line-height: inherit; list-style: none; margin: 0; padding: 0; /* Reset Minerva default */ } .plainlist ol li, .plainlist ul li { margin-bottom: 0; } 51706efa229ff8794c0d94f260a208e7c5e6ec30 6 80 824 2022-12-13T17:16:59Z Amanda.peter 13 wikitext text/x-wiki Dreadlocks Perceptions a1d36ce88278d9ad79cb785b9ea479731a50f514 828 163 1042 2022-12-13T23:41:34Z wikipedia>Izno 0 use module:list for plainlist, move templatestyles to module space Scribunto text/plain -- This module implements {{shortcut}}. -- Set constants local CONFIG_MODULE = 'Module:Shortcut/config' -- Load required modules local checkType = require('libraryUtil').checkType local yesno = require('Module:Yesno') local p = {} local function message(msg, ...) return mw.message.newRawMessage(msg, ...):plain() end local function makeCategoryLink(cat) return string.format('[[%s:%s]]', mw.site.namespaces[14].name, cat) end function p._main(shortcuts, options, frame, cfg) checkType('_main', 1, shortcuts, 'table') checkType('_main', 2, options, 'table', true) options = options or {} frame = frame or mw.getCurrentFrame() cfg = cfg or mw.loadData(CONFIG_MODULE) local templateMode = options.template and yesno(options.template) local redirectMode = options.redirect and yesno(options.redirect) local isCategorized = not options.category or yesno(options.category) ~= false -- Validate shortcuts for i, shortcut in ipairs(shortcuts) do if type(shortcut) ~= 'string' or #shortcut < 1 then error(message(cfg['invalid-shortcut-error'], i), 2) end end -- Make the list items. These are the shortcuts plus any extra lines such -- as options.msg. local listItems = {} for i, shortcut in ipairs(shortcuts) do local templatePath, prefix if templateMode then -- Namespace detection local titleObj = mw.title.new(shortcut, 10) if titleObj.namespace == 10 then templatePath = titleObj.fullText else templatePath = shortcut end prefix = options['pre' .. i] or options.pre or '' end if options.target and yesno(options.target) then listItems[i] = templateMode and string.format("&#123;&#123;%s[[%s|%s]]&#125;&#125;", prefix, templatePath, shortcut) or string.format("[[%s]]", shortcut) else listItems[i] = frame:expandTemplate{ title = 'No redirect', args = templateMode and {templatePath, shortcut} or {shortcut, shortcut} } if templateMode then listItems[i] = string.format("&#123;&#123;%s%s&#125;&#125;", prefix, listItems[i]) end end end table.insert(listItems, options.msg) -- Return an error if we have nothing to display if #listItems < 1 then local msg = cfg['no-content-error'] msg = string.format('<strong class="error">%s</strong>', msg) if isCategorized and cfg['no-content-error-category'] then msg = msg .. makeCategoryLink(cfg['no-content-error-category']) end return msg end local root = mw.html.create() root:wikitext(frame:extensionTag{ name = 'templatestyles', args = { src = 'Module:Shortcut/styles.css'} }) -- Anchors local anchorDiv = root :tag('div') :addClass('module-shortcutanchordiv') for i, shortcut in ipairs(shortcuts) do local anchor = mw.uri.anchorEncode(shortcut) anchorDiv:tag('span'):attr('id', anchor) end -- Shortcut heading local shortcutHeading do local nShortcuts = #shortcuts if nShortcuts > 0 then local headingMsg = options['shortcut-heading'] or redirectMode and cfg['redirect-heading'] or cfg['shortcut-heading'] shortcutHeading = message(headingMsg, nShortcuts) shortcutHeading = frame:preprocess(shortcutHeading) end end -- Shortcut box local shortcutList = root :tag('div') :addClass('module-shortcutboxplain noprint') :attr('role', 'note') if options.float and options.float:lower() == 'left' then shortcutList:addClass('module-shortcutboxleft') end if options.clear and options.clear ~= '' then shortcutList:css('clear', options.clear) end if shortcutHeading then shortcutList :tag('div') :addClass('module-shortcutlist') :wikitext(shortcutHeading) end local ubl = require('Module:List').unbulleted(listItems) shortcutList:wikitext(ubl) return tostring(root) end function p.main(frame) local args = require('Module:Arguments').getArgs(frame) -- Separate shortcuts from options local shortcuts, options = {}, {} for k, v in pairs(args) do if type(k) == 'number' then shortcuts[k] = v else options[k] = v end end -- Compress the shortcut array, which may contain nils. local function compressArray(t) local nums, ret = {}, {} for k in pairs(t) do nums[#nums + 1] = k end table.sort(nums) for i, num in ipairs(nums) do ret[i] = t[num] end return ret end shortcuts = compressArray(shortcuts) return p._main(shortcuts, options, frame) end return p 03fd46a265e549852a9ed3d3a9249b247d84cb4f 0 10 825 628 2022-12-14T04:33:38Z Amanda.peter 13 wikitext text/x-wiki Amanda is a pickle loving baddie with a love for T Swizz and an affinity for the color pink. == Natural Hair Gallery == [[File:Dreadlocks Perceptions|thumb|Negative Perceptions of Dreadlocks]] Look at these depictions of the beauty of natural hair, and browse through the artists' Instagram pages: Destiny Darcel [https://www.instagram.com/p/Chm0tlZLdqG/ @destinydarcel] Laetitia Ky [https://www.instagram.com/p/CkqkA6-IWPG/ @laetitiaky] == Feminism == == Cats == == Pink == == Notes == == References == <references/> 24d04848cb5cf88c0454159603be99f7195b32e5 826 825 2022-12-14T04:39:50Z Amanda.peter 13 wikitext text/x-wiki Amanda is a pickle loving baddie with a love for T Swizz and an affinity for the color pink. == Natural Hair Gallery == Look at these depictions of the beauty of natural hair, and browse through the artists' Instagram pages: Destiny Darcel [https://www.instagram.com/p/Chm0tlZLdqG/ @destinydarcel] Laetitia Ky [https://www.instagram.com/p/CkqkA6-IWPG/ @laetitiaky] == Feminism == == Cats == == Pink == == Notes == == References == <references/> dd76ac313822d64cf057670812ea55299a25a5f1 827 826 2022-12-14T04:54:59Z Amanda.peter 13 wikitext text/x-wiki Amanda is a pickle loving baddie with a love for T Swizz and an affinity for the color pink. == Natural Hair Gallery == Look at these depictions of the beauty of natural hair, and browse through the artists' Instagram pages: Destiny Darcel [https://www.instagram.com/p/Chm0tlZLdqG/ @destinydarcel] Laetitia Ky [https://www.instagram.com/p/CkqkA6-IWPG/ @laetitiaky] Shani Crowe [https://www.instagram.com/p/BwM7NvNHmhd/ @crowezilla] Domonique Jacobs [https://www.instagram.com/p/ChGDpsNpYpw/ @bflybydesign] Tyler Clark [https://www.instagram.com/p/CibQyeNrImI/ @inspirebytyler] Tim Okamura [https://www.instagram.com/p/CT2XkbtF3uz/ @timokamura] == Feminism == == Cats == == Pink == == Notes == == References == <references/> 964fe1a76b5738c6c620f4b66a8fe410be9a88a4 828 827 2022-12-14T04:57:57Z Amanda.peter 13 wikitext text/x-wiki Amanda is a pickle loving baddie with a love for T Swizz and an affinity for the color pink. == Natural Hair Gallery == [[File:Dreadlocks Misconceptions|thumb|Negative Perceptions of Dreadlocks]] Look at these depictions of the beauty of natural hair, and browse through the artists' Instagram pages: Destiny Darcel [https://www.instagram.com/p/Chm0tlZLdqG/ @destinydarcel] Laetitia Ky [https://www.instagram.com/p/CkqkA6-IWPG/ @laetitiaky] Shani Crowe [https://www.instagram.com/p/BwM7NvNHmhd/ @crowezilla] Domonique Jacobs [https://www.instagram.com/p/ChGDpsNpYpw/ @bflybydesign] Tyler Clark [https://www.instagram.com/p/CibQyeNrImI/ @inspirebytyler] Tim Okamura [https://www.instagram.com/p/CT2XkbtF3uz/ @timokamura] == Feminism == == Cats == == Pink == == Notes == == References == <references/> db83de4fff685a630bb528fa75ac935556a18642 829 828 2022-12-14T05:00:21Z Amanda.peter 13 wikitext text/x-wiki Amanda is a pickle loving baddie with a love for T Swizz and an affinity for the color pink. == Natural Hair Gallery == Look at these depictions of the beauty of natural hair, and browse through the artists' Instagram pages: Destiny Darcel [https://www.instagram.com/p/Chm0tlZLdqG/ @destinydarcel] Laetitia Ky [https://www.instagram.com/p/CkqkA6-IWPG/ @laetitiaky] Shani Crowe [https://www.instagram.com/p/BwM7NvNHmhd/ @crowezilla] Domonique Jacobs [https://www.instagram.com/p/ChGDpsNpYpw/ @bflybydesign] Tyler Clark [https://www.instagram.com/p/CibQyeNrImI/ @inspirebytyler] Tim Okamura [https://www.instagram.com/p/CT2XkbtF3uz/ @timokamura] == Feminism == == Cats == == Pink == == Notes == == References == <references/> 332ea4346227b0e35ba951b5f672ef412f4e3855 830 829 2022-12-14T05:15:25Z Amanda.peter 13 wikitext text/x-wiki Amanda is a pickle loving baddie with a love for T Swizz and an affinity for the color pink. == Natural Hair Gallery == Look at these depictions of the beauty of natural hair, and browse through the artists' Instagram pages: Destiny Darcel [https://www.instagram.com/p/Chm0tlZLdqG/ @destinydarcel] Laetitia Ky [https://www.instagram.com/p/CkqkA6-IWPG/ @laetitiaky] Shani Crowe [https://www.instagram.com/p/BwM7NvNHmhd/ @crowezilla] Domonique Jacobs [https://www.instagram.com/p/ChGDpsNpYpw/ @bflybydesign] Tyler Clark [https://www.instagram.com/p/CibQyeNrImI/ @inspirebytyler] Tim Okamura [https://www.instagram.com/p/CT2XkbtF3uz/ @timokamura] == Artist Statement == == Activism Project == == Queer Wiki Pages == == References == <references/> 7b3dd784a0357f19185bb2118c1027b3c0e094e3 831 830 2022-12-14T05:47:01Z Amanda.peter 13 wikitext text/x-wiki Amanda is a pickle loving baddie with a love for T Swizz and an affinity for the color pink. == Natural Hair Gallery == Look at these depictions of the beauty of natural hair, and browse through the artists' Instagram pages: Destiny Darcel [https://www.instagram.com/p/Chm0tlZLdqG/ @destinydarcel] Laetitia Ky [https://www.instagram.com/p/CkqkA6-IWPG/ @laetitiaky] Shani Crowe [https://www.instagram.com/p/BwM7NvNHmhd/ @crowezilla] Domonique Jacobs [https://www.instagram.com/p/ChGDpsNpYpw/ @bflybydesign] Tyler Clark [https://www.instagram.com/p/CibQyeNrImI/ @inspirebytyler] Tim Okamura [https://www.instagram.com/p/CT2XkbtF3uz/ @timokamura] == Artist Statement == Natural hairstyles, and black hair generally, tend to carry negative perceptions. With this gallery of images, I aim to celebrate these hairstyles and their beauty. As a white woman, I also wanted to highlight artists of color instead of relying on a piece of my own. Each of the pieces I’ve chosen displays natural Black hair in a different way, showing the variety in such styles and the intricacies of styling natural hair. == Activism Project == Visit our Tublr sight where we archived the events and arts of the first Natural Hair Gala at TCU. [https://naturallymi.tumblr.com/ @naturallymi.tumblr.com] == Queer Wiki Pages == [[Compulsory heterosexuality]] [[Queer Mannerisms]] == References == <references/> bac4a030476a314f252d14df474e3a9954b2b5fa 832 831 2022-12-14T05:48:25Z Amanda.peter 13 wikitext text/x-wiki == Natural Hair Gallery == Look at these depictions of the beauty of natural hair, and browse through the artists' Instagram pages: Destiny Darcel [https://www.instagram.com/p/Chm0tlZLdqG/ @destinydarcel] Laetitia Ky [https://www.instagram.com/p/CkqkA6-IWPG/ @laetitiaky] Shani Crowe [https://www.instagram.com/p/BwM7NvNHmhd/ @crowezilla] Domonique Jacobs [https://www.instagram.com/p/ChGDpsNpYpw/ @bflybydesign] Tyler Clark [https://www.instagram.com/p/CibQyeNrImI/ @inspirebytyler] Tim Okamura [https://www.instagram.com/p/CT2XkbtF3uz/ @timokamura] == Artist Statement == Natural hairstyles, and black hair generally, tend to carry negative perceptions. With this gallery of images, I aim to celebrate these hairstyles and their beauty. As a white woman, I also wanted to highlight artists of color instead of relying on a piece of my own. Each of the pieces I’ve chosen displays natural Black hair in a different way, showing the variety in such styles and the intricacies of styling natural hair. == Activism Project == Visit our Tublr sight where we archived the events and arts of the first Natural Hair Gala at TCU. [https://naturallymi.tumblr.com/ @naturallymi.tumblr.com] == Queer Wiki Pages == [[Compulsory heterosexuality]] [[Queer Mannerisms]] == References == <references/> e954c4a3914c0b0d8dfa9242cbdde465f32c970c 10 93 910 2022-12-18T05:46:16Z wikipedia>TadejM 0 wikitext text/x-wiki {{#invoke:Message box|mbox}}<noinclude> {{documentation}} <!-- Add categories to the /doc subpage; interwikis go to Wikidata, thank you! --> </noinclude> 5bfb2becf8bed35974b47e3ff8660dc14bee40c7 10 186 1080 2022-12-26T18:00:17Z wikipedia>Izno 0 actually remove that block, someone can dig for authorship text text/plain /* {{pp-protected|reason=match parent|small=yes}} */ /* * hlist styles are defined in core and Minerva and differ in Minerva. The * current definitions here (2023-01-01) are sufficient to override Minerva * without use of the hlist-separated class. The most problematic styles were * related to margin, padding, and the bullet. Check files listed at * [[MediaWiki talk:Common.css/to do#hlist-separated]] */ /* * TODO: When the majority of readership supports it (or some beautiful world * in which grade C support is above the minimum threshold), use :is() */ .hlist dl, .hlist ol, .hlist ul { margin: 0; padding: 0; } /* Display list items inline */ .hlist dd, .hlist dt, .hlist li { /* * don't trust the note that says margin doesn't work with inline * removing margin: 0 makes dds have margins again * We also want to reset margin-right in Minerva */ margin: 0; display: inline; } /* Display requested top-level lists inline */ .hlist.inline, .hlist.inline dl, .hlist.inline ol, .hlist.inline ul, /* Display nested lists inline */ .hlist dl dl, .hlist dl ol, .hlist dl ul, .hlist ol dl, .hlist ol ol, .hlist ol ul, .hlist ul dl, .hlist ul ol, .hlist ul ul { display: inline; } /* Hide empty list items */ .hlist .mw-empty-li { display: none; } /* TODO: :not() can maybe be used here to remove the later rule. naive test * seems to work. more testing needed. like so: *.hlist dt:not(:last-child)::after { * content: ": "; *} *.hlist dd:not(:last-child)::after, *.hlist li:not(:last-child)::after { * content: " · "; * font-weight: bold; *} */ /* Generate interpuncts */ .hlist dt::after { content: ": "; } .hlist dd::after, .hlist li::after { content: " · "; font-weight: bold; } .hlist dd:last-child::after, .hlist dt:last-child::after, .hlist li:last-child::after { content: none; } /* Add parentheses around nested lists */ .hlist dd dd:first-child::before, .hlist dd dt:first-child::before, .hlist dd li:first-child::before, .hlist dt dd:first-child::before, .hlist dt dt:first-child::before, .hlist dt li:first-child::before, .hlist li dd:first-child::before, .hlist li dt:first-child::before, .hlist li li:first-child::before { content: " ("; font-weight: normal; } .hlist dd dd:last-child::after, .hlist dd dt:last-child::after, .hlist dd li:last-child::after, .hlist dt dd:last-child::after, .hlist dt dt:last-child::after, .hlist dt li:last-child::after, .hlist li dd:last-child::after, .hlist li dt:last-child::after, .hlist li li:last-child::after { content: ")"; font-weight: normal; } /* Put ordinals in front of ordered list items */ .hlist ol { counter-reset: listitem; } .hlist ol > li { counter-increment: listitem; } .hlist ol > li::before { content: " " counter(listitem) "\a0"; } .hlist dd ol > li:first-child::before, .hlist dt ol > li:first-child::before, .hlist li ol > li:first-child::before { content: " (" counter(listitem) "\a0"; } 8c9dd9c9c00f30eead17fe10f51d183333e81f33 828 106 936 2022-12-29T17:57:56Z wikipedia>Izno 0 add templatestyles for hlist Scribunto text/plain local libUtil = require('libraryUtil') local checkType = libUtil.checkType local mTableTools = require('Module:TableTools') local p = {} local listTypes = { ['bulleted'] = true, ['unbulleted'] = true, ['horizontal'] = true, ['ordered'] = true, ['horizontal_ordered'] = true } function p.makeListData(listType, args) -- Constructs a data table to be passed to p.renderList. local data = {} -- Classes and TemplateStyles data.classes = {} data.templatestyles = '' if listType == 'horizontal' or listType == 'horizontal_ordered' then table.insert(data.classes, 'hlist') data.templatestyles = mw.getCurrentFrame():extensionTag{ name = 'templatestyles', args = { src = 'Hlist/styles.css' } } elseif listType == 'unbulleted' then table.insert(data.classes, 'plainlist') data.templatestyles = mw.getCurrentFrame():extensionTag{ name = 'templatestyles', args = { src = 'Plainlist/styles.css' } } end table.insert(data.classes, args.class) -- Main div style data.style = args.style -- Indent for horizontal lists if listType == 'horizontal' or listType == 'horizontal_ordered' then local indent = tonumber(args.indent) indent = indent and indent * 1.6 or 0 if indent > 0 then data.marginLeft = indent .. 'em' end end -- List style types for ordered lists -- This could be "1, 2, 3", "a, b, c", or a number of others. The list style -- type is either set by the "type" attribute or the "list-style-type" CSS -- property. if listType == 'ordered' or listType == 'horizontal_ordered' then data.listStyleType = args.list_style_type or args['list-style-type'] data.type = args['type'] -- Detect invalid type attributes and attempt to convert them to -- list-style-type CSS properties. if data.type and not data.listStyleType and not tostring(data.type):find('^%s*[1AaIi]%s*$') then data.listStyleType = data.type data.type = nil end end -- List tag type if listType == 'ordered' or listType == 'horizontal_ordered' then data.listTag = 'ol' else data.listTag = 'ul' end -- Start number for ordered lists data.start = args.start if listType == 'horizontal_ordered' then -- Apply fix to get start numbers working with horizontal ordered lists. local startNum = tonumber(data.start) if startNum then data.counterReset = 'listitem ' .. tostring(startNum - 1) end end -- List style -- ul_style and ol_style are included for backwards compatibility. No -- distinction is made for ordered or unordered lists. data.listStyle = args.list_style -- List items -- li_style is included for backwards compatibility. item_style was included -- to be easier to understand for non-coders. data.itemStyle = args.item_style or args.li_style data.items = {} for _, num in ipairs(mTableTools.numKeys(args)) do local item = {} item.content = args[num] item.style = args['item' .. tostring(num) .. '_style'] or args['item_style' .. tostring(num)] item.value = args['item' .. tostring(num) .. '_value'] or args['item_value' .. tostring(num)] table.insert(data.items, item) end return data end function p.renderList(data) -- Renders the list HTML. -- Return the blank string if there are no list items. if type(data.items) ~= 'table' or #data.items < 1 then return '' end -- Render the main div tag. local root = mw.html.create('div') for _, class in ipairs(data.classes or {}) do root:addClass(class) end root:css{['margin-left'] = data.marginLeft} if data.style then root:cssText(data.style) end -- Render the list tag. local list = root:tag(data.listTag or 'ul') list :attr{start = data.start, type = data.type} :css{ ['counter-reset'] = data.counterReset, ['list-style-type'] = data.listStyleType } if data.listStyle then list:cssText(data.listStyle) end -- Render the list items for _, t in ipairs(data.items or {}) do local item = list:tag('li') if data.itemStyle then item:cssText(data.itemStyle) end if t.style then item:cssText(t.style) end item :attr{value = t.value} :wikitext(t.content) end return data.templatestyles .. tostring(root) end function p.renderTrackingCategories(args) local isDeprecated = false -- Tracks deprecated parameters. for k, v in pairs(args) do k = tostring(k) if k:find('^item_style%d+$') or k:find('^item_value%d+$') then isDeprecated = true break end end local ret = '' if isDeprecated then ret = ret .. '[[Category:List templates with deprecated parameters]]' end return ret end function p.makeList(listType, args) if not listType or not listTypes[listType] then error(string.format( "bad argument #1 to 'makeList' ('%s' is not a valid list type)", tostring(listType) ), 2) end checkType('makeList', 2, args, 'table') local data = p.makeListData(listType, args) local list = p.renderList(data) local trackingCategories = p.renderTrackingCategories(args) return list .. trackingCategories end for listType in pairs(listTypes) do p[listType] = function (frame) local mArguments = require('Module:Arguments') local origArgs = mArguments.getArgs(frame, { valueFunc = function (key, value) if not value or not mw.ustring.find(value, '%S') then return nil end if mw.ustring.find(value, '^%s*[%*#;:]') then return value else return value:match('^%s*(.-)%s*$') end return nil end }) -- Copy all the arguments to a new table, for faster indexing. local args = {} for k, v in pairs(origArgs) do args[k] = v end return p.makeList(listType, args) end end return p 7a4f36a6e9cd56370bdd8207d23694124821dc1a 828 136 996 2022-12-29T18:14:27Z wikipedia>Izno 0 get these in Scribunto text/plain return { aria_label = 'Navbox', nowrap_item = '%s<span class="nowrap">%s</span>', templatestyles = mw.getCurrentFrame():extensionTag{ name = 'templatestyles', args = { src = 'Module:Navbox/styles.css' } }, hlist_templatestyles = 'Hlist/styles.css', plainlist_templatestyles = 'Plainlist/styles.css', -- do not localize marker table marker = { oddeven = '\127_ODDEVEN_\127', restart = '\127_ODDEVEN0_\127', regex = '\127_ODDEVEN(%d?)_\127' }, category = { orphan = '[[Category:Navbox orphans]]', horizontal_lists = 'Navigational boxes without horizontal lists', background_colors = 'Navboxes using background colours', illegible = 'Potentially illegible navboxes', borders = 'Navboxes using borders', }, keyword = { border_subgroup = 'subgroup', border_child = 'child', border_none = 'none', evenodd_swap = 'swap', navbar_off = 'off', navbar_plain = 'plain', nocat_false = 'false', nowrapitems_yes = 'yes', orphan_yes = 'yes', state_collapsed = 'collapsed', state_off = 'off', state_plain = 'plain', subpage_doc = 'doc', subpage_sandbox = 'sandbox', subpage_testcases = 'testcases', tracking_no = 'no' }, class = { autocollapse = 'autocollapse', collapsible = 'mw-collapsible', collapsed = 'mw-collapsed', -- Warning navbox = 'navbox', -- WMF currently hides 'navbox' from mobile, -- so you probably shouldn't change the navbox class. navbox_abovebelow = 'navbox-abovebelow', navbox_group = 'navbox-group', navbox_image = 'navbox-image', navbox_inner = 'navbox-inner', navbox_list = 'navbox-list', navbox_list_with_group = 'navbox-list-with-group', navbox_part = 'navbox-', -- do not l10n navbox_styles = 'navbox-styles', navbox_subgroup = 'navbox-subgroup', navbox_title = 'navbox-title', -- l10n only if you change pattern.navbox_title below navbox_odd_part = 'odd', -- do not l10n navbox_even_part = 'even', -- do not l10n nomobile = 'nomobile', nowraplinks = 'nowraplinks', noviewer = 'noviewer' -- used to remove images from MediaViewer }, pattern = { listnum = '^list(%d+)$', class = 'class', sandbox = '/sandbox$', navbox = 'Template:Navbox', nowrap = '^<span class="nowrap">', style = 'style$', navbox_title = '<th[^>]*"navbox%-title"', hlist = 'hlist', plainlist = 'plainlist', }, arg = { above = 'above', aboveclass = 'aboveclass', abovestyle = 'abovestyle', basestyle = 'basestyle', bodyclass = 'bodyclass', bodystyle = 'bodystyle', border = 'border', below = 'below', belowclass = 'belowclass', belowstyle = 'belowstyle', evenodd = 'evenodd', evenstyle = 'evenstyle', group1 = 'group1', group2 = 'group2', group_and_num = 'group%d', groupstyle_and_num = 'group%dstyle', groupclass = 'groupclass', groupstyle = 'groupstyle', groupwidth = 'groupwidth', innerstyle = 'innerstyle', image = 'image', imageclass = 'imageclass', imageleft = 'imageleft', imageleftstyle = 'imageleftstyle', imagesetyle = 'imagestyle', list_and_num = 'list%d', listclass_and_num = 'list%dclass', liststyle_and_num = 'list%dstyle', list1padding = 'list1padding', listclass = 'listclass', listpadding = 'listpadding', liststyle = 'liststyle', name = 'name', navbar = 'navbar', navboxclass = 'navboxclass', nocat = 'nocat', nowrapitems = 'nowrapitems', oddstyle = 'oddstyle', orphan = 'orphan', state = 'state', style = 'style', templatestyles = 'templatestyles', child_templatestyles = 'child templatestyles', title = 'title', titleclass = 'titleclass', titlestyle = 'titlestyle', tracking = 'tracking' }, -- names of navbar arguments navbar = { name = 1, fontstyle = 'fontstyle', mini = 'mini' } } 4148736fd32a93636c0413e73ed38afaef065ec9 828 133 990 2022-12-29T18:18:21Z wikipedia>Izno 0 add hlist/styles.css Scribunto text/plain return { ['templatestyles'] = 'Module:Navbar/styles.css', ['hlist_templatestyles'] = 'Hlist/styles.css', ['box_text'] = 'This box: ', -- default text box when not plain or mini ['title_namespace'] = 'Template', -- namespace to default to for title ['invalid_title'] = 'Invalid title ', ['classes'] = { -- set a line to nil if you don't want it ['navbar'] = 'navbar', ['plainlinks'] = 'plainlinks', -- plainlinks ['horizontal_list'] = 'hlist', -- horizontal list class ['mini'] = 'navbar-mini', -- class indicating small links in the navbar ['this_box'] = 'navbar-boxtext', ['brackets'] = 'navbar-brackets', -- 'collapsible' is the key for a class to indicate the navbar is -- setting up the collapsible element in addition to the normal -- navbar. ['collapsible'] = 'navbar-collapse', ['collapsible_title_mini'] = 'navbar-ct-mini', ['collapsible_title_full'] = 'navbar-ct-full' } } b007c336b17ec4bcd4d5a9dca9f8cba301662b55 828 132 988 2022-12-29T18:20:02Z wikipedia>Izno 0 add templatestyles for hlist Scribunto text/plain local p = {} local cfg = mw.loadData('Module:Navbar/configuration') local function get_title_arg(is_collapsible, template) local title_arg = 1 if is_collapsible then title_arg = 2 end if template then title_arg = 'template' end return title_arg end local function choose_links(template, args) -- The show table indicates the default displayed items. -- view, talk, edit, hist, move, watch -- TODO: Move to configuration. local show = {true, true, true, false, false, false} if template then show[2] = false show[3] = false local index = {t = 2, d = 2, e = 3, h = 4, m = 5, w = 6, talk = 2, edit = 3, hist = 4, move = 5, watch = 6} -- TODO: Consider removing TableTools dependency. for _, v in ipairs(require ('Module:TableTools').compressSparseArray(args)) do local num = index[v] if num then show[num] = true end end end local remove_edit_link = args.noedit if remove_edit_link then show[3] = false end return show end local function add_link(link_description, ul, is_mini, font_style) local l if link_description.url then l = {'[', '', ']'} else l = {'[[', '|', ']]'} end ul:tag('li') :addClass('nv-' .. link_description.full) :wikitext(l[1] .. link_description.link .. l[2]) :tag(is_mini and 'abbr' or 'span') :attr('title', link_description.html_title) :cssText(font_style) :wikitext(is_mini and link_description.mini or link_description.full) :done() :wikitext(l[3]) :done() end local function make_list(title_text, has_brackets, displayed_links, is_mini, font_style) local title = mw.title.new(mw.text.trim(title_text), cfg.title_namespace) if not title then error(cfg.invalid_title .. title_text) end local talkpage = title.talkPageTitle and title.talkPageTitle.fullText or '' -- TODO: Get link_descriptions and show into the configuration module. -- link_descriptions should be easier... local link_descriptions = { { ['mini'] = 'v', ['full'] = 'view', ['html_title'] = 'View this template', ['link'] = title.fullText, ['url'] = false }, { ['mini'] = 't', ['full'] = 'talk', ['html_title'] = 'Discuss this template', ['link'] = talkpage, ['url'] = false }, { ['mini'] = 'e', ['full'] = 'edit', ['html_title'] = 'Edit this template', ['link'] = title:fullUrl('action=edit'), ['url'] = true }, { ['mini'] = 'h', ['full'] = 'hist', ['html_title'] = 'History of this template', ['link'] = title:fullUrl('action=history'), ['url'] = true }, { ['mini'] = 'm', ['full'] = 'move', ['html_title'] = 'Move this template', ['link'] = mw.title.new('Special:Movepage'):fullUrl('target='..title.fullText), ['url'] = true }, { ['mini'] = 'w', ['full'] = 'watch', ['html_title'] = 'Watch this template', ['link'] = title:fullUrl('action=watch'), ['url'] = true } } local ul = mw.html.create('ul') if has_brackets then ul:addClass(cfg.classes.brackets) :cssText(font_style) end for i, _ in ipairs(displayed_links) do if displayed_links[i] then add_link(link_descriptions[i], ul, is_mini, font_style) end end return ul:done() end function p._navbar(args) -- TODO: We probably don't need both fontstyle and fontcolor... local font_style = args.fontstyle local font_color = args.fontcolor local is_collapsible = args.collapsible local is_mini = args.mini local is_plain = args.plain local collapsible_class = nil if is_collapsible then collapsible_class = cfg.classes.collapsible if not is_plain then is_mini = 1 end if font_color then font_style = (font_style or '') .. '; color: ' .. font_color .. ';' end end local navbar_style = args.style local div = mw.html.create():tag('div') div :addClass(cfg.classes.navbar) :addClass(cfg.classes.plainlinks) :addClass(cfg.classes.horizontal_list) :addClass(collapsible_class) -- we made the determination earlier :cssText(navbar_style) if is_mini then div:addClass(cfg.classes.mini) end local box_text = (args.text or cfg.box_text) .. ' ' -- the concatenated space guarantees the box text is separated if not (is_mini or is_plain) then div :tag('span') :addClass(cfg.classes.box_text) :cssText(font_style) :wikitext(box_text) end local template = args.template local displayed_links = choose_links(template, args) local has_brackets = args.brackets local title_arg = get_title_arg(is_collapsible, template) local title_text = args[title_arg] or (':' .. mw.getCurrentFrame():getParent():getTitle()) local list = make_list(title_text, has_brackets, displayed_links, is_mini, font_style) div:node(list) if is_collapsible then local title_text_class if is_mini then title_text_class = cfg.classes.collapsible_title_mini else title_text_class = cfg.classes.collapsible_title_full end div:done() :tag('div') :addClass(title_text_class) :cssText(font_style) :wikitext(args[1]) end local frame = mw.getCurrentFrame() -- hlist -> navbar is best-effort to preserve old Common.css ordering. return frame:extensionTag{ name = 'templatestyles', args = { src = cfg.hlist_templatestyles } } .. frame:extensionTag{ name = 'templatestyles', args = { src = cfg.templatestyles } } .. tostring(div:done()) end function p.navbar(frame) return p._navbar(require('Module:Arguments').getArgs(frame)) end return p 79f907e59eaa8bbf8dd50bb751933ebeaaa7eb17 10 150 1022 2023-01-25T22:32:14Z wikipedia>Izno 0 per tper wikitext text/x-wiki {{Mbox | name = Notice | demospace = {{{demospace|}}} | style = {{#if:{{{style|}}} |{{{style}}} }} | subst = <includeonly>{{subst:substcheck}}</includeonly> | type = notice | image = {{#if:{{{image|}}} |[[File:{{{image}}}|40px|Notice|alt={{{imagealt|}}}]]}} | small = {{{small|}}} | smallimage = {{#if:{{{image|}}} |[[File:{{{image}}}|30px|Notice|alt={{{imagealt|}}}]]}} | imageright = {{#if:{{{imageright|}}} |{{{imageright}}} |{{#if:{{{shortcut|{{{shortcut1|}}}}}} |{{Ombox/shortcut|{{{shortcut|{{{shortcut1|}}}}}}|{{{shortcut2|}}}|{{{shortcut3|}}}|{{{shortcut4|}}}|{{{shortcut5|}}}}}}} }} | textstyle = {{{textstyle|text-align: {{#if:{{{center|}}}|center|{{{align|left}}}}};}}} | text = {{#if:{{{header|{{{heading|{{{title|}}}}}}}}} |<div style="{{{headstyle|text-align: {{#if:{{{center|}}}|center|left}};}}}">'''{{{header|{{{heading|{{{title|}}}}}}}}}'''</div>}}<!-- -->{{{text|{{{content|{{{reason|{{{1}}}}}}}}}}}} }}<noinclude> {{Documentation}} </noinclude> 2cbdbb721ca517005f6827650eef5b0f17537a43 0 1 833 787 2023-02-01T18:17:47Z Matrim112830 2 wikitext text/x-wiki __NOTOC__ [[File:Future Is So Queer in Ukraine.jpg|thumb|Future Is So Queer in Ukraine]] == Welcome to {{SITENAME}}! == This wiki served as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. Its major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. === Philosophy === Queer Wiki exists as a space for archiving that does not have the same restrictions that Wikipedia has. One of Wikipedia's core content policies is NPOV, the "neutral" point of view. From Wikipedia <blockquote>"All encyclopedic content on Wikipedia must be written from a neutral point of view (NPOV), which means representing fairly, proportionately, and, as far as possible, without editorial bias, all the significant views that have been published by reliable sources on a topic. NPOV is a fundamental principle of Wikipedia and of other Wikimedia projects. It is also one of Wikipedia's three core content policies; the other two are "Verifiability" and "No original research". These policies jointly determine the type and quality of material acceptable in Wikipedia articles, and because they work in harmony, they should not be interpreted in isolation from one another. Editors are strongly encouraged to familiarize themselves with all three. This policy is non-negotiable, and the principles upon which it is based cannot be superseded by other policies or guidelines, nor by editor consensus." <ref>https://en.wikipedia.org/wiki/Wikipedia:Neutral_point_of_view</ref> </blockquote> QWiki not only questions the possibility of the neutral state, but asserts a QPOV. It asserts no need for "verification" per se, and invites original thought and inquiry. === All Pages === [[Special:AllPages]] === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, and thank you for visiting this wiki. We are still in the process of developing pages, but feel free to browse or contribute.[[disidentification]] == References == <references/> 7f8237df72b24711f3909618608608014fbba30b 10 192 1094 2023-02-04T21:16:13Z wikipedia>Hog Farm 0 [[Wikipedia:Templates for discussion/Log/2023 February 4#Template:Distinguish]] closed as keep ([[WP:XFDC#4.0.13|XFDcloser]]) wikitext text/x-wiki {{#invoke:Distinguish|distinguish}}<noinclude><!-- splitting these lines causes {{Documentation}} template to terminate green shading when Distinguish is used in /doc pages. --> {{Documentation}} <!-- Add categories to the /doc subpage and interwikis to Wikidata, not here! --> </noinclude> f949a4cbfd6eb0ab77b832e69059a40a964b1fd8 10 207 1124 2023-02-08T16:11:22Z wikipedia>Xaosflux 0 Reverted edits by [[Special:Contribs/Xaosflux|Xaosflux]] ([[User talk:Xaosflux|talk]]) to last version by Redrose64 wikitext text/x-wiki #REDIRECT [[Template:Template link]] fb9a6b420e13178e581af6e7d64274cd30a79017 828 185 1078 2023-03-14T15:53:59Z wikipedia>Izno 0 Undid revision 1144571295 by [[Special:Contributions/TheDJ|TheDJ]] ([[User talk:TheDJ|talk]]) I'm sorry, that's not what we discussed or agreed to text text/plain /* {{pp-template}} */ .module-shortcutboxplain { float: right; margin: 0 0 0 1em; border: 1px solid #aaa; background: #fff; padding: 0.3em 0.6em 0.2em 0.6em; text-align: center; font-size: 85%; } .module-shortcutboxleft { float: left; margin: 0 1em 0 0; } .module-shortcutlist { display: inline-block; border-bottom: 1px solid #aaa; margin-bottom: 0.2em; } .module-shortcutboxplain ul { font-weight: bold; } .module-shortcutanchordiv { position: relative; top: -3em; } li .module-shortcutanchordiv { float: right; /* IE/Edge in list items */ } .mbox-imageright .module-shortcutboxplain { padding: 0.4em 1em 0.4em 1em; line-height: 1.3; margin: 0; } ccf3877e4b14726147d3b1d8a297fbecacdb2cf8 0 81 834 2023-04-12T12:35:57Z Matrim112830 2 Created page with "Salvador Novo Something about queer places <ref> Queer Places [http://www.elisarolle.com/queerplaces/uvwxyz/Xavier%20Villaurrutia.html] </ref> == AA == == BB == == Notes == == References == <references/> http://www.elisarolle.com/queerplaces/uvwxyz/Xavier%20Villaurrutia.html" wikitext text/x-wiki Salvador Novo Something about queer places <ref> Queer Places [http://www.elisarolle.com/queerplaces/uvwxyz/Xavier%20Villaurrutia.html] </ref> == AA == == BB == == Notes == == References == <references/> http://www.elisarolle.com/queerplaces/uvwxyz/Xavier%20Villaurrutia.html 058dc1a3d3b2fdbab8196f278b11192e5f202d5c 10 181 1070 2023-04-18T16:44:54Z wikipedia>AjaxSmack 0 + {{Script needed inline}} wikitext text/x-wiki {{Navbox | name = Inline cleanup tags | state = {{{state<includeonly>|autocollapse</includeonly>}}} | bodyclass = hlist | title = Inline cleanup tags | evenodd = off | group1 = Attribution | list1 = * {{tl|According to whom}} * {{tl|Attribution needed}} * {{tl|By whom}} * {{tl|From whom?}} * {{tl|Like whom?}} * {{tl|To 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2023-05-05T13:19:09Z Matrim112830 2 Created page with ".kjhlkjh" wikitext text/x-wiki .kjhlkjh 7c8ae7a3bf4049c04d6f570e904d7f2c1d8498b3 836 835 2023-05-05T13:25:23Z Matrim112830 2 wikitext text/x-wiki __NOTOC__ [[File:Future Is So Queer in Ukraine.jpg|thumb|Future Is So Queer in Ukraine]] == Queering Readings == This wiki served as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. Its major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. === 420 === There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> == References == <references/> b5c382dbad2f20a8243c03160ca574f950ee44eb 837 836 2023-05-05T13:29:08Z Matrim112830 2 wikitext text/x-wiki == Section A == == Section B == == Section C == == Queering Readings == This wiki served as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. Its major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. === 420 === There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> == References == <references/> 4ff9dc8c83d709b2fde32f2bb89dcb556c963d32 839 837 2023-05-05T13:41:56Z Matrim112830 2 wikitext text/x-wiki __FORCETOC__ == Section A == == Section B == == Section C == == Queering Readings == This wiki served as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU, but aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. Its major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. === 420 === There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> == References == <references/> 19412c52cd70f24eefd55cbb0ff38c437d1f82a1 0 2 840 785 2023-05-05T13:44:29Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> __FORCETOC__ __TOC__ == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Potential Projects == Here are some possible pages and projects for wiki "bureaucrats" to consider [[Potential Archives]] == Original Pages == [[Asexual Queerness]] [https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness (web archive)] [[Centaurworld]] [https://web.archive.org/web/20221024145008/https://qwiki.miraheze.org/wiki/Centaurworld (web archive)] [[Compulsory heterosexuality]] [https://web.archive.org/web/20221024145342/https://qwiki.miraheze.org/wiki/Compulsory_heterosexuality (web archive)] [[FannyAnn Eddy]] [https://web.archive.org/web/20221024150631/https://qwiki.miraheze.org/wiki/FannyAnn_Eddy (web archive)] [[Masters and Johnson's Sex Therapy but Make it Queer]] [https://web.archive.org/web/20221024145608/https://qwiki.miraheze.org/wiki/Masters_and_Johnson%27s_Sex_Therapy_but_Make_it_Queer (web archive)] [[New Queer Intimism]] [https://web.archive.org/web/20221024150103/https://qwiki.miraheze.org/wiki/New_Queer_Intimism (web archive)] [[Queer Activism Through Judicial Decisions]] [https://web.archive.org/web/20221024150454/https://qwiki.miraheze.org/wiki/Queer_Activism_Through_Judicial_Decisions (web archive)] [[Shifting Fashion Industry Ideals: Queer Fashion]] [https://web.archive.org/web/20221024151225/https://qwiki.miraheze.org/wiki/Shifting_Fashion_Industry_Ideals:_Queer_Fashion (web archive)] == Original Clusters == [Queer Mannerisms]] [https://web.archive.org/web/20221201145029/https://qwiki.miraheze.org/wiki/Queer_Mannerisms] [[Queer Coding]] [https://web.archive.org/web/20221201143049/https://qwiki.miraheze.org/wiki/Queer_Coding (web archive)] [[The Idea of Lack of Fluidity: Detransitioning]] [https://web.archive.org/web/20221201143529/https://qwiki.miraheze.org/wiki/The_Idea_of_Lack_of_Fluidity:_Detransitioning (web archive)] ==All Pages== [[Special:AllPages]] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 2809bb7a2eb81cd76450391128cc2857d9eaa2e2 0 2 841 840 2023-05-05T13:44:49Z Matrim112830 2 wikitext text/x-wiki WRIT 30243.074 (75487) also known as "Rhetorical Practices in Culture - [[Queer Rhetorics]]" was a class developed by [[Mat Wenzel]] at Texas Christian University in the Fall of 2022.<ref>Fall 2022 Course Descriptions [https://web.archive.org/web/20220829155129/https://addran.tcu.edu/english/current-students/Fall22Courses.pdf] </ref> <ref> TCU, AddRan College of Liberal Arts, Department of English [https://web.archive.org/web/20220829160826/https://addran.tcu.edu/english/current-students/courses.php]</ref> == Course Description== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Course Syllabus == Our syllabus can be found here: https://docs.google.com/document/d/17tD0nCK_oPlR91s54BXDIrtv5EWApyGw/edit?usp=sharing&ouid=113931744957783285242&rtpof=true&sd=true Some additional resources can be found at https://matwenzel.wixsite.com/queer-rhetorics == Course Resources == Books Mat has in the office https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=office-library <br> Some books the TCU library has https://www.goodreads.com/review/list/208191-mat-wenzel?ref=nav_mybooks&shelf=tcu-library<br> [https://www.enculturation.net/files/QueerRhetoric/queerarchive/Home.html Queer Rhetoric and the Pleasures of the Archive] == Potential Projects == Here are some possible pages and projects for wiki "bureaucrats" to consider [[Potential Archives]] == Original Pages == [[Asexual Queerness]] [https://web.archive.org/web/20220000000000*/https://qwiki.miraheze.org/wiki/Asexual_Queerness (web archive)] [[Centaurworld]] [https://web.archive.org/web/20221024145008/https://qwiki.miraheze.org/wiki/Centaurworld (web archive)] [[Compulsory heterosexuality]] [https://web.archive.org/web/20221024145342/https://qwiki.miraheze.org/wiki/Compulsory_heterosexuality (web archive)] [[FannyAnn Eddy]] [https://web.archive.org/web/20221024150631/https://qwiki.miraheze.org/wiki/FannyAnn_Eddy (web archive)] [[Masters and Johnson's Sex Therapy but Make it Queer]] [https://web.archive.org/web/20221024145608/https://qwiki.miraheze.org/wiki/Masters_and_Johnson%27s_Sex_Therapy_but_Make_it_Queer (web archive)] [[New Queer Intimism]] [https://web.archive.org/web/20221024150103/https://qwiki.miraheze.org/wiki/New_Queer_Intimism (web archive)] [[Queer Activism Through Judicial Decisions]] [https://web.archive.org/web/20221024150454/https://qwiki.miraheze.org/wiki/Queer_Activism_Through_Judicial_Decisions (web archive)] [[Shifting Fashion Industry Ideals: Queer Fashion]] [https://web.archive.org/web/20221024151225/https://qwiki.miraheze.org/wiki/Shifting_Fashion_Industry_Ideals:_Queer_Fashion (web archive)] == Original Clusters == [Queer Mannerisms]] [https://web.archive.org/web/20221201145029/https://qwiki.miraheze.org/wiki/Queer_Mannerisms] [[Queer Coding]] [https://web.archive.org/web/20221201143049/https://qwiki.miraheze.org/wiki/Queer_Coding (web archive)] [[The Idea of Lack of Fluidity: Detransitioning]] [https://web.archive.org/web/20221201143529/https://qwiki.miraheze.org/wiki/The_Idea_of_Lack_of_Fluidity:_Detransitioning (web archive)] ==All Pages== [[Special:AllPages]] == Original Participants == [[user:Anelco|Andy (Andrea) Coronado]] [[user:Anaya.nichelle|Anaya <3]] [[Amanda]] [[Dania#References|Dania]] [[Deja]] [[Catherine Cunningham]]<br> [[Emma Kate Howard]] [[Petite Cloud]] [[Jazzy Pug]] [[Savannah]] [[Sofun]] [[Adrienne Stallings]] [[Mat Wenzel]] [[Brwilson1]] [[Libby Banks]] [[Juliet]] [[Luretame]] == Logs == === Wednesday, September 28th, 2022 === '''CC''' The class continued to “peel the onion.” For the next class on Monday, Oct. 3, students can pick the reading that they are most intrigued by from Disidentifications for our first self-assigned JIGSAW. Speaker 1: The first presenter was Edriana. Her Wiki was on Dwight McBride’s book, specifically the chapter that covers the poet Essex Hemphill's poem “Loyalty.” With this, she platformed the discussion of queer Black history and describes the origins of the erasure, which Edriana noted is a result of respectability politics and the assimilation to the Western perspective. “Black community is often left out of the history and conversation when it comes to queerness.” McBride discusses how Black historical figures and black heroes in stories are always two-dimensional. One suggestion for Edriana was to incorporate the story of a specific Black historical figure to round out her page. Dr. Wenzel agreed with this suggestion and also said to highlight the person’s love life with respect to the page’s focus since he feels that love is a prominent aspect of her Wiki. Speaker 2: The second speaker was Dania, and she presented on her page “ Master’s and Johnson’s Sex Therapy but Make it Queer,” which she formed around “Queer, the Graphic History.” She provided a summary of “the Experimental Self,”—which analyzed human sexual responses during intercourse in a scientific study in the 50s, but the study only focused on heterosexual couples and did not include openly queer individuals. Dania incorporated a Washington Post article written in the 70s on Master’s and Johnson’s book that did include homosexual couples and pointed out that homosexual couples do not lack communication during sex as heterosexual couples do. Her next section is titled “What is Real Sex” and explained why/how the definition of real sex is subjective. She also added a “Now Modernize It” section that called out the heteronormative/homonormative ties to sex and expanded on ways to escape that. One question asked about this was to not only push to expand the definition of real sex but also incorporate how relationships include other aspects of intimacy. A suggestion for Dania’s page is to incorporate examples of people affected by the limited definition of “real sex.” Dr. Wenzel agreed that power dynamics in sex are a catalyst for the limited definition of “real sex.” Dr. Wenzel Suggestion gave this suggestion: “Expand on the real sex subsection and incorporate politics or systemic catalysts for why we define sex as it is. (The power dynamics of sex)” After Dania’s section, Dr. Wenzel discussed the information shared on the Zine “Mapping Your Sexuality” and taught the class about the SCT map of sexuality. He used the diagram to explain how its creator defined sexuality in a “more sophisticated way.” He suggested Dania uses the diagram. Speaker 3: Chloe’s Wiki page is about the fashion industry, specifically within the queer world. The industry is not where it needs to be in order to include all forms of DEI. She is focusing on a study that analyzes the inclusion factor of the fashion industry (which is lacking). She then went on to describe how smaller businesses and POC individuals have paved the way to include everyone through fashion. She then concluded with a list of fashion models and influencers that have paved the way for others. suggestions/ questions: add specific companies that have included other body types (Victoria’s Secret) in the study, you are focusing on => looking into why or how the fashion industry is not as accepting (in terms of business vs. culture) Quannah ChasingHorse: The supermodel, with tribal artwork on her face, could focus on her and how she is a model and included different cultures represented Dr. Wenzel: What is the most important thing to focus on? Archive people who aren’t as prominent. Catherine and Chloe have their own cluster. Speaker 4: Juliet’s project is on new queer intimism. She begins with the background of intimism and how it conveys a genre of casualness in paintings. Her Wiki page defines intimism, then transitions to the subsection titled “New Queer Intimism,” which highlights queer artists who convey the inner lives of queer individuals. She made a section that highlighted particular members of New Queer Intimism like Salmon Toor, Louis Fratino, and Doron Langberg. A suggestion was to incorporate how intimism influences pop culture (Lorde’s Melodrama). Dr. Wenzel’s note was to expand beyond male-identifying artists. In the final 2 minutes of class, Dr. Wenzel shared the source “Wikimedia commons” and cautioned us to avoid copyright and plagiarism. === Monday, September 26th, 2022 === BB Making Let the Record Show is activism, as it is helping people know the full truth. Lavender and Red are also archiving, and through that, is activism. However, there is bias in Lavender and Red: it is biased against Stonewall, more specifically the idea that Stonewall is the whole extent, or the crux of the extent, of the queer activism that took place in the sixties and seventies. In making these Wiki pages, we may not be able to take on a considerable chunk of queer narratives, but we are working on how to narrow our work down in archiving. Christina presented on asexual queerness, specifically asexuality in pop culture and as deformity. Catherine presented on queer activism through judicial decisions, specifically within the restrictions that not extending civil rights to queer people presented. She points out that there is no queer activism archive. Dr. Wenzel pointed out that queer marriage is not legal (consider polyamorous marriage, for example). Breann presented on FannyAnn Viola Eddy who founded the Sierra Leone Lesbian and gay association. The assumption is that there isn’t enough information on this person and their work. Breann stresses how the media focuses on her murder more than her legacy. Dr. Wenzel thinks that this is honestly ready for the next stage of the project. He thinks from here, she can move into art and maybe do a call for art submissions surrounding her legacy. === Wednesday, September 21, 2022 === CC One thing to highlight from last class's reading: Let the Record Show. This is quite different from the other homonormativity readings. The author is creating the idea of how change is made in such a way that is not homonormative. The whole story of HIV/AIDs activism is not the whole story. There are many people from many different identities that are working together against HIV/AIDs. We are starting the first section of our class today and we are getting into the practice of queer rehetorics. Today we are getting into archives and then in a few weeks art and then after that activism. Let the Record Show is about activism. Archive, art, and activism are only three ways to look at queer rhetoric, there are also other ways. These sections are also so clearly overlapping. For example, a lot of the record of archiving is in itself its own activism. Focusing on local groups can help as well. If you see bullet points or numbers in queer rhetoric, latch onto it. Those can be rare. Direct Action: 1. Experience-Based Agenda: ID your issues based on lived experiences of people with AIDS. Before you decide what you want to do, you have to have some idea of what that lived experience is like 2. Education: Become the expert on your subject 3. Design the solution 4. Present this solution to the powers at be 5. ACT UPs process of “self-purification” was a combo of nonviolent civil disobedience training and emotional and political bonding You can access a lot of books through the library- be sure to log in and look for your book. Intro of Lavender and Red: - Our theme is archiving. What does archive mean? - Archive: To catalog an idea for continuous use– catalog is a great word. - Like a dragon's hoard but instead of gold its information - You can go to the archives in the library. The archive is not only a collection of information, but also a collection of physical information. - TCU has a lot of archives about TCU. You can go but you have to get special permission. You can read magazines and things from 1913. There are photographs and relics (personal belongings) - Usually because archives are housed in libraries, there are a lot of books and diaries and journals. The national archives has a lot of stuff in D.C. Why does TCU have a big archive of TCU stuff? To allow for people to look back at the history of TCU and for promotion. Each University saves its own things so they can use it as a promotion. - University archives can be used as history and it is important. - Having archives allows you to look at how far you have come, or see what should have changed then and so we can change now. - Archives don’t necessarily need to be celebrated, but need to be apart of history - Archivists are historical editors - Important distinction between honoring and preserving - Things that are archived are not always known outside of the archives What stood out from the intro of Lavender and Red? - There was an extensive amount of context and very detailed - Assumes that we know Stonewall- the argument is that Stonewall is well archived before this. Author is trying to build a better history - What was stonewall? The non-straight population had a lot of bars in Greenwich village in the 1960s. But there was not a sense of community– this was a time when you were trans and kicked out of the house. Marsha P. Johnson was a trans woman. In NYC there was a Public Moral Squad in the NYPD. The Mayor said they needed to shut down the gay bars in Greenwich Village. The night of Stonewall two policemen and many other policemen came to shut down the Stonewall Bar and they rioted. And that night the queer community realized there was a larger group of queer individuals. Marsha P. Johnson and her friend Sylvia worked together to give transgender kids a place to stay. - Stonewall is why we celebrate pride in June- Stonewall has become really big, to the point people say pre-Stonewall post-Stonewall. - In fact author of Lavender and Red got flack for including more history than just Stonewall The LGBT movements (first was just Lesbian and Gay but expanded over tiem, in some sense trans people were always involved) were involved in more than just the LGBTQ liberation in America, but they had a global outlook. They were involved in protests for the wars in Nicaragua and other global phenomena. - An important part in what this work does is that transgender people during the time of Stonewall might have called themselves gay- they used those terms because they were not including. Then, Marsha and Sylvia started “transvestite”, not we use different terms - A lot of people will say that there were no trans people, but no, they were there they just were under different terminology. That is why it is important to archive. We need to point out what exists now and what might have existed. - Intersectionality is a new idea we think, like fighting for the rights of other people who don’t have the same identity as you is “new”-- no, this has been going on since the 60s. - Their was a natural strategy that to fight against heteronormative structures together and within one another - These structures were used to fight capitalism - “Feminism is the theory, lesbianism is the practice” - These activists saw liberation period as queer. You can’t have liberation if you don’t have sexual liberation, but also not just sexual liberation. All the liberations overlap. This also means there is a common enemy Intersectionality is not about the places and times in history when these people come together but is to attack the enemy. - Attack and enemy are said with hesitancy, a lot of the movements were nonviolent - “Queer studies have at least tended to assume that gay and lesbian politics of the 1970s and 1980s rested on static and essentialist conceptions of sexual identity” - You can't always avoid static and binaries. There is natural static (fixed/not changing). But, we want to avoid some of the essentialist mindsets. What we are more concerned with is that we don’t say that this is the “one way/one person”, we need to say that this is A person, not THE person. - Essentialist: “This is the essence, this is the only view” The fixed idea that this is the essence. “A set of attributes that are necessary to their identity” - “They argued that sexual liberation could be won only through a broader social revolution and that, conversely, sexual liberation was a necessary part of revolutionary change” - sexual liberation is a part of a bigger thing. One group was unaccepting of one group of people were also unaccepting of another group of people. There is an idea that to be accepted you have to accept everybody. This one liberation can only be won through the liberation of everyone. - “At the table”, we need “a woman, a Latinx, etc etc” that kind of identity of “who gets to be at the table” is not really the kind of work queer rhetoric does, it's about “what is the table? Why do we need the table?” - This is linked to capitalism. The people who own the factories don’t want to be challenged. The powers at be don’t want everyone organizing together for more liberation. Readings: - HIV AIDs was not a disease only contracted by one type of person but "Rather it was characterological. These were people who were unable to sit out a historic cataclysm" - Epilogue of ''Lavender and Red''- Photo of man with "Not all men want to fight in the war". Reminds us of Harry Styles, and how his feminine traits are in the media. What would it look like if Harry Styles was apart of different intersections and identities? - Some of our institutions are so inherently problematic, do we really want the right to be involved? Like the right to serve in the military, or marriage. Or should we just abolish the system completely? Like the seat at the table. - Things seem so fixed, but it is not always forever Page work in progress is due next time! Make sure stuff is in a word document! === Monday, September 19, 2022 === AC going back to the queer graphics, showing examples of how to make/create your own page make 4 headers. Where people have not written about it that much. ex: Mark Bingham how he had already a lot of references and written. Where the 3 main focuses of the class may intersect or overlap. Specials pages > all pages, in the future (Sept 27) will do a workshop. Most complete thing on what you are working on. History of LGBTQ+ or Queerness. Anita Bryant BOOO (not a fan of her). Personally, I do not feel bad. Love is not love? Those who don't feel romantic feeling don't fit into that. Is marriage even based on love? Who benefits from marriage? === Wednesday, September 14, 2022 === ap Note: log in before editing Wiki, otherwise it’ll track your IP address Homework for next class: add personal page to original participants if not done already No links to readings, must be found on Frog Scholar (copy journal title and paste) Find issue 100 on the right side, click article PDFs (published in 2008) Putting things between <> and </> affects how those things are displayed <descriptor>Things Being Affected By The Description </descriptor> You might fill in “descriptor” with ref (reference), b (bold), etc. Wiki pages: Wiki pages should be about something relevant to the class, likely something we have at least touched on Choose concepts, histories/events, people, cultural production (art) You can find some queer rhetoric ideas in whatever you’re interested in; whatever you care about How long should you page be? I don’t know. It depends. Your page should connect in some way to something else, through references or at least a connection to another queer wiki page Some ideas presented in class: a queer poet/their poems, gaylor Look at list of topics: Mat’s page of Queer Wiki > Queer Methodologies WIP Sketchboard > An annotated bibliography List of books in Mat’s office (and in TCU library) on Mat’s page of Queer Wiki Discussion of art and cultural production Are memes art? Why don’t we place all of our stuff on normal main Wikipedia? Wikipedia has an NPOV (neutral point of view) policy (see Philosophy under Queer Wiki Main Page) Groupwork - added collective thoughts on ethos/pathos/logos of Queer Rhetorics Wiki page === Monday, September 12, 2022 === Homework: Put your name and link your article under original participants on the wiki. Have ready to present archive page by the 26th The World Making Potential of Contemporary Crip/Queer Literary and Cultural Production Discussion: We’ve heard crip very little and not as a slur, queer was a slur in middle school but dissipated around high school for us. Cripple is something you don’t want to be is the narrative that is pushed. Reminder that queer rhetoric and queer studies is relatively new. Disability rhetoric has a lot of work to do, as does queer rhetoric. Not everyone labels themselves with these labels. What kind of cultural production comes from crip and queer people? People treat people with visible disabilities as fragile, despite facts proving otherwise. Disabled people are often put into the binary of being an inspiration or a project. Inspirations are convenient for abled people. Reinforces able-bodied-ness as being the standard. How do non-normative groups reclaim a sexuality they’ve been removed from? Special on Netflix relates to some of these ideas. JIGSAW: modern usages of the word community, “without community there is no liberation”, accept differences not just tolerate them. We should know more about the AIDS crisis; The NY Times was fabricating the idea that the gay lifestyle led to aids. Rich white gay men got hiv/aids treatment and then moved on. === Wednesday, September 7, 2022 === bw Class Wiki: Qwiki.miraheze.org From main page- click WRIT 30243.074 click edit and copy the coding in the textbox. To create page: In search box: Type name or topic click where it says to create Paste coding from class editing page onto your own page To make a reference: next to word you want to reference, click bookmark at top, <nowiki>“<ref></ref>”</nowiki> should pop up. In between the “><” paste the link in between (should be in brackets). After “]” click space and type what you want it to be titled at bottom of the page. To have a link with specified link text- type [url] Numbered external link- type in url without brackets Find link to website, copy, click link icon at top of page, paste link into textbox (link should be in brackets) <nowiki>EX: English <ref> [http:addran.tcu.edu/English/index.php] TCU English Website </ref></nowiki> For assignment: - First check what is already out there! - Requirement 1: has to have 4 headers - Requirement 2: has to have references. o Copy and paste <nowiki><references/></nowiki> - Have to have 1st draft page completed by: September 26th o Should be fully formed - Topic- wise: should be something there’s not a lot of information about o Things that haven’t been addressed - Main topics should come from: o Complex concepts o Events o People within the community Low Theory Discussion: - In summary: It discusses dismantling the way we live with success and failure in our lives and society - What would it look like if we valued failure more? - Discussed education system as an institution o Challenging for some to read as students because we feed into this in a way o Who are we writing this for? What are we contributing to? - Dismisses the idea of success we hold in society - So many of people are asked to put aside parts of themselves in order to be successful - We have a standard of what success looks like, and people are expected to mold themselves to fit that - Our society pushes for productivity and productivity in a specific way - Criticizes common sense o what is common knowledge? o What is common sense? o We constantly assume what others understand and it criticizes this  Ex: people use “common sense” to try to justify pushing heteronormative ideas - Seeing changes in academia today- media is being brought into academia - Brightsided Mass Delusion o Idea that success only happens to good people who work hard, and failure is due to lack of motivation, not because of systematic issues and oppression - To see like a state: “means to accept the order of things and to internalize them- begin to deploy and think with the logic of the superiority of orderliness and that we erase and indeed sacrifice other, more local practice of knowledge” === Wednesday, August 31, 2022 === dg Housekeeping - Important Note on Attendance: If you’re absent, no need to email Matt. Check out the posted class notes instead. - Note the syllabus addition of conducting further research on a page from Queer: A Graphic History page 51 through the end. • Research people, terms, events, etc. - Bring a laptop to class on September 7 in preparation for learning about our class archive Wiki page. Group Work Expectations - Class worked in groups where Person A shares their first quote and analysis (from the Jigsaw index cards) from their assigned reading and Persons B, C, and D will share a response. • Pattern continues until all group members have spoken. Class Contributions on Intersectionality - Central question: If intersectionality are not about identity, what are they about? - Remember: Google definitions! - Intersectionality: people have more than one positionally (across race, gender, etc.) - Intersectionality is about background and what contributes to us as humans; focuses on non-labeling and seeing what is beneath the tip of the iceberg • Disruption/deemphasize of the expected - Intersectionality is about deconstruction; it deconstructions oppressive structures and hierarchies that place people into boxes. It also deconstructs our view of ourselves and other people. - Intersectionality is about social constructed designators that divide society into separate groups, but has an overlap between them. - Intersectionality highlights how about each of our lives are different and wholistic (two bubbles—one blue one red and when overlapped together they’ll make purple) More Notes on Intersectionality - Queer studies and rhetoric is intrinsically intersectional - Intersectionality is about solidarity === Monday, August 29, 2022 === jg Questions What is something new you learned/unlearned relearned etc. from last session Don’t only fight for your own identity, queer as a verb Queer theory, rhetoric, and activism can contradict each other; they are not static, constantly changing Binary versus spectrum Physical examples (intersex siblings, chromosome variation) Importance of recognizing our own positionalities as they evolve Struggling to connecting to different parts of our identity / potential to be burdensome or not positive What is [[disidentification]] not Disidentification is not one straight forward process, one way of looking at a meaning, strictness, purity Groups: Definition of disidentification through Munoz / what did it look like in the past, what does it look like now? What is it not? “An intentional consideration, generally performed by a person of the minority, of how one does not fit the hegemonic ideas/narratives set by the dominant public, which allows for the resistance of normative discourse and a truer and empowering realization of oneself outside these limits by ironically situating oneself “within and against the various discourses” Disidentification cannot be accidental Disidentification is not “all of it” Minority: oppressed group Hegemony: social tyranny Dominant public: immediately visible / involves people Must have irony Within & against contradictory rhetoric Example: performance of Clarence “The process of assimilation into dominant culture in a way that seeks to queer the same dominant culture Illustration: concentric circles Consider also, Muñoz: “Disidentification is meant to be descriptive of the survival strategies the minority subject practices in order to negotiate a phobic majoritarian public sphere that continuously elides or punishes the existence of subjects who do not conform to the phantasm of normative citizenship” (Disidentifications 4). “Disidentification is placing the normative within the nonnormative to disrupt these binaries, a performance ironic mechanism that accentuates uneasiness to provoke analytical examination of identity” Taking the big sphere of normative and pulling it into the smaller sphere Encountering disidentification may be fearful (phobia) à something happens to your own identity “Disidentification is the performance and embodiment of the identity one has been assigned to exemplify and amplify its absurdity. It is also, through that process, the practice of disassembling those assigned identities and reassembling them in a way that feels more comfortable and empowering to the individual” Embodiment à disidentification can’t only happen in your head Examples: Sid from Toy Story == Notes == == References == <references/> 47c6400f3cac30dbf6cba8feb555c02db564e410 0 82 842 839 2023-05-05T13:56:50Z Matrim112830 2 wikitext text/x-wiki Emily Dickinson was Queer. == Section A == == Section B == == Section C == == Queering Readings == Once<ref>adsf</ref>, at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." === 420 === There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> == References == <references/> e0342dd368995526f57b2af86811088e14ab6127 843 842 2023-05-05T14:14:59Z Matrim112830 2 wikitext text/x-wiki Emily Dickinson was Queer. == Section A == == Section B == == Section C == == Queering Readings == Once, at a reading at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." So I ordered Helen Vendler's commentary on Dickinson and had it shipped back home. I read the first commentary on November 12, 2015. In 2016 I'd start a Ph.D. in Poetry. I wouldn't come back to it until I was done, in May of 2021. It looks like my first notes of "divergence" from Vendler's readings began on the 5th commentary, May 12, 2021 on "Safe in their Alabaster Chambers -". "She alone <nowiki>[(Dickinson)]</nowiki>," Vendler writes, "distinguishes herself from he family flock--the unbeliever commenting on the deluded faithful.<ref>Vendler, Helen. Dickinson: Selected Poems &amp; Commentaries. 2012. </ref>" === 420 === There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> == References == <references/> 38c91bac83dd26af6abbd7c275f44df7a17408b8 844 843 2023-05-05T14:24:13Z Matrim112830 2 wikitext text/x-wiki Emily Dickinson was Queer. == Section A == == Section B == == Section C == == Queering Readings == Once, at a reading at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." So I ordered Helen Vendler's commentary on Dickinson and had it shipped back home. I read the first commentary on November 12, 2015. In 2016 I'd start a Ph.D. in Poetry. I wouldn't come back to it until I was done, in May of 2021. It looks like my first notes of "divergence" from Vendler's readings began on the 5th commentary, May 12, 2021 on "Safe in their Alabaster Chambers -". "She alone <nowiki>[(Dickinson)]</nowiki>," Vendler writes, "distinguishes herself from he family flock--the unbeliever commenting on the deluded faithful.<ref>Vendler, Helen. ''Dickinson: Selected Poems &amp; Commentaries''. 2012. </ref>" I took it personal. I knew that Emily loved her family, or at least her sister-in-law, that she was ''in'' love with her sister-in-law. I remember, too reading, that her teachers called her "irredeemable. [citation needed]" Vendler seemed to have a kind of contempt here for Dickinson, or at least my own experience as a queer person of faith kicked out of my church community made me read it that way. As I read on I looked for some acknowledgment of Dickinson's queerness from Vendler, but didn't find it. What I found, though, was what read as misreadings to me, if you just take into account some level of Dickinson's queerness. It feels like the erasing and straightwashing, this "hetero-by-default" garbage that is everywhere in academia and "literature." It feels like homophobia. And so I make little notes as I read a chapter once in a while, as much as I can tolerate. And some of my thoughts are recorded in this section as well. === 420 === There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> == References == <references/> c20f690b61df922b77c340d0f5f32a7c49058bd1 845 844 2023-05-05T14:32:38Z Matrim112830 2 wikitext text/x-wiki Emily Dickinson was Queer. == Section A == == Section B == == Section C == == Queering Readings == Once, at a reading at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." So I ordered Helen Vendler's commentary on Dickinson and had it shipped back home. I read the first commentary on November 12, 2015. In 2016 I'd start a Ph.D. in Poetry. I wouldn't come back to it until I was done, in May of 2021. It looks like my first notes of "divergence" from Vendler's readings began on the 5th commentary, May 12, 2021 on "Safe in their Alabaster Chambers -". "She alone <nowiki>[(Dickinson)]</nowiki>," Vendler writes, "distinguishes herself from he family flock--the unbeliever commenting on the deluded faithful.<ref>Vendler, Helen. ''Dickinson: Selected Poems &amp; Commentaries''. 2012. </ref>" I took it personal. I knew that Emily loved her family, or at least her sister-in-law, that she was ''in'' love with her sister-in-law. I remember, too reading, that her teachers called her "irredeemable. [citation needed]" Vendler seemed to have a kind of contempt here for Dickinson, or at least my own experience as a queer person of faith kicked out of my church community made me read it that way. As I read on I looked for some acknowledgment of Dickinson's queerness from Vendler, but didn't find it. What I found, though, was what read as misreadings to me, if you just take into account some level of Dickinson's queerness. It feels like the erasing and straightwashing, this "hetero-by-default" garbage that is everywhere in academia and "literature." It feels like homophobia. And so I make little notes as I read a chapter once in a while, as much as I can tolerate. And some of my thoughts are recorded in this section as well. === 420 === There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> Vendler writes that this poem "may obliquely bear on gender" == References == <references/> 7570a4ef723251b8f5b4e635584f6c2b0b954957 846 845 2023-05-05T14:44:36Z Matrim112830 2 wikitext text/x-wiki Emily Dickinson was Queer. == Section A == == Section B == == Section C == == Queering Readings == Once, at a reading at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." So I ordered Helen Vendler's commentary on Dickinson and had it shipped back home. I read the first commentary on November 12, 2015. In 2016 I'd start a Ph.D. in Poetry. I wouldn't come back to it until I was done, in May of 2021. It looks like my first notes of "divergence" from Vendler's readings began on the 5th commentary, May 12, 2021 on "Safe in their Alabaster Chambers -". "She alone <nowiki>[(Dickinson)]</nowiki>," Vendler writes, "distinguishes herself from he family flock--the unbeliever commenting on the deluded faithful.<ref>Vendler, Helen. ''Dickinson: Selected Poems &amp; Commentaries''. 2012. </ref>" I took it personal. I knew that Emily loved her family, or at least her sister-in-law, that she was ''in'' love with her sister-in-law. I remember, too reading, that her teachers called her "irredeemable. [citation needed]" Vendler seemed to have a kind of contempt here for Dickinson, or at least my own experience as a queer person of faith kicked out of my church community made me read it that way. As I read on I looked for some acknowledgment of Dickinson's queerness from Vendler, but didn't find it. What I found, though, was what read as misreadings to me, if you just take into account some level of Dickinson's queerness. It feels like the erasing and straightwashing, this "hetero-by-default" garbage that is everywhere in academia and "literature." It feels like homophobia. And so I make little notes as I read a chapter once in a while, as much as I can tolerate. And some of my thoughts are recorded in this section as well. === 420 === There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> Vendler writes that this poem "may obliquely bear on gender." Even as a "gay dude" this poem reads as explicitly about female beauty and eroticism. She writes: "Her poetry, nonetheless, bears witness to the development of an extraordinary spiritual life (193)." I mean, it could. But it's also about lesbians. Who's reading themself into it? Vendler with her spirituality, or me with my queerness? I'd argue Vendler is. She is working off this idea that ED was a lonely, helpless, celibate, recluse. I'm working off this idea that Emily Dickinson Was Queer. == References == <references/> 5b35c1e85effc650450fbdc7316c7b89075962a0 848 846 2023-05-05T14:51:42Z Matrim112830 2 /* 420 */ wikitext text/x-wiki Emily Dickinson was Queer. == Section A == == Section B == == Section C == == Queering Readings == Once, at a reading at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." So I ordered Helen Vendler's commentary on Dickinson and had it shipped back home. I read the first commentary on November 12, 2015. In 2016 I'd start a Ph.D. in Poetry. I wouldn't come back to it until I was done, in May of 2021. It looks like my first notes of "divergence" from Vendler's readings began on the 5th commentary, May 12, 2021 on "Safe in their Alabaster Chambers -". "She alone <nowiki>[(Dickinson)]</nowiki>," Vendler writes, "distinguishes herself from he family flock--the unbeliever commenting on the deluded faithful.<ref>Vendler, Helen. ''Dickinson: Selected Poems &amp; Commentaries''. 2012. </ref>" I took it personal. I knew that Emily loved her family, or at least her sister-in-law, that she was ''in'' love with her sister-in-law. I remember, too reading, that her teachers called her "irredeemable. [citation needed]" Vendler seemed to have a kind of contempt here for Dickinson, or at least my own experience as a queer person of faith kicked out of my church community made me read it that way. As I read on I looked for some acknowledgment of Dickinson's queerness from Vendler, but didn't find it. What I found, though, was what read as misreadings to me, if you just take into account some level of Dickinson's queerness. It feels like the erasing and straightwashing, this "hetero-by-default" garbage that is everywhere in academia and "literature." It feels like homophobia. And so I make little notes as I read a chapter once in a while, as much as I can tolerate. And some of my thoughts are recorded in this section as well. === 420 === There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> [[File:Pleasant Valley Nurseries - 1901 (catalog) (1901) (20561298265).jpg|thumb|Avery large, handsome nut, that has been grown in Pennsylvania for many years, and is found so nearly identical with Paragon in growth and fruit that it is not improbable that it was a nut of this variety from which Mr. Schaeffer, of Germantown, grew the original Paragon tree. Comes to fruitage very young, and is an enormous bearer of nuts of very good quality. Ripens October 10 to 25. COOPER. Tree a vigorous grower and very productive ; bur large ; nuts large, smooth and glossy, with little fuzz, usually 3 in a bur ; quality very good. A strikingly handsome nut on account of its dark, glossy appearance.]] Vendler writes that this poem "may obliquely bear on gender." Even as a "gay dude" this poem reads as explicitly about female beauty and eroticism. She writes: "Her poetry, nonetheless, bears witness to the development of an extraordinary spiritual life (193)." I mean, it could. But it's also about lesbians. Who's reading themself into it? Vendler with her spirituality, or me with my queerness? I'd argue Vendler is. She is working off this idea that ED was a lonely, helpless, celibate, recluse. I'm working off this idea that Emily Dickinson Was Queer. == References == <references/> 58683ed0edb7c1d0d6d4eb44254276e82a7ff8a6 849 848 2023-05-05T14:52:21Z Matrim112830 2 /* 420 */ wikitext text/x-wiki Emily Dickinson was Queer. == Section A == == Section B == == Section C == == Queering Readings == Once, at a reading at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." So I ordered Helen Vendler's commentary on Dickinson and had it shipped back home. I read the first commentary on November 12, 2015. In 2016 I'd start a Ph.D. in Poetry. I wouldn't come back to it until I was done, in May of 2021. It looks like my first notes of "divergence" from Vendler's readings began on the 5th commentary, May 12, 2021 on "Safe in their Alabaster Chambers -". "She alone <nowiki>[(Dickinson)]</nowiki>," Vendler writes, "distinguishes herself from he family flock--the unbeliever commenting on the deluded faithful.<ref>Vendler, Helen. ''Dickinson: Selected Poems &amp; Commentaries''. 2012. </ref>" I took it personal. I knew that Emily loved her family, or at least her sister-in-law, that she was ''in'' love with her sister-in-law. I remember, too reading, that her teachers called her "irredeemable. [citation needed]" Vendler seemed to have a kind of contempt here for Dickinson, or at least my own experience as a queer person of faith kicked out of my church community made me read it that way. As I read on I looked for some acknowledgment of Dickinson's queerness from Vendler, but didn't find it. What I found, though, was what read as misreadings to me, if you just take into account some level of Dickinson's queerness. It feels like the erasing and straightwashing, this "hetero-by-default" garbage that is everywhere in academia and "literature." It feels like homophobia. And so I make little notes as I read a chapter once in a while, as much as I can tolerate. And some of my thoughts are recorded in this section as well. === 420 === [[File:Pleasant Valley Nurseries - 1901 (catalog) (1901) (20561298265).jpg|thumb|Avery large, handsome nut, that has been grown in Pennsylvania for many years, and is found so nearly identical with Paragon in growth and fruit that it is not improbable that it was a nut of this variety from which Mr. Schaeffer, of Germantown, grew the original Paragon tree. Comes to fruitage very young, and is an enormous bearer of nuts of very good quality. Ripens October 10 to 25. COOPER. Tree a vigorous grower and very productive ; bur large ; nuts large, smooth and glossy, with little fuzz, usually 3 in a bur ; quality very good. A strikingly handsome nut on account of its dark, glossy appearance.]] There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> Vendler writes that this poem "may obliquely bear on gender." Even as a "gay dude" this poem reads as explicitly about female beauty and eroticism. She writes: "Her poetry, nonetheless, bears witness to the development of an extraordinary spiritual life (193)." I mean, it could. But it's also about lesbians. Who's reading themself into it? Vendler with her spirituality, or me with my queerness? I'd argue Vendler is. She is working off this idea that ED was a lonely, helpless, celibate, recluse. I'm working off this idea that Emily Dickinson Was Queer. == References == <references/> 8347125bbba61f29657e5fb2807e9b34beffc071 850 849 2023-05-05T16:44:50Z Matrim112830 2 wikitext text/x-wiki Emily Dickinson was Queer. == Section A == == Section B == == Section C == == Queering Readings == Once, at a reading at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." So I ordered Helen Vendler's commentary on Dickinson and had it shipped back home. I read the first commentary on November 12, 2015. In 2016 I'd start a Ph.D. in Poetry. I wouldn't come back to it until I was done, in May of 2021. It looks like my first notes of "divergence" from Vendler's readings began on the 5th commentary, May 12, 2021 on "Safe in their Alabaster Chambers -". "She alone <nowiki>[(Dickinson)]</nowiki>," Vendler writes, "distinguishes herself from he family flock--the unbeliever commenting on the deluded faithful.<ref>Vendler, Helen. ''Dickinson: Selected Poems &amp; Commentaries''. 2012. </ref>" I took it personal. I knew that Emily loved her family, or at least her sister-in-law, that she was ''in'' love with her sister-in-law. I remember, too reading, that her teachers called her "irredeemable. [citation needed]" Vendler seemed to have a kind of contempt here for Dickinson, or at least my own experience as a queer person of faith kicked out of my church community made me read it that way. As I read on I looked for some acknowledgment of Dickinson's queerness from Vendler, but didn't find it. What I found, though, was what read as misreadings to me, if you just take into account some level of Dickinson's queerness. It feels like the erasing and straightwashing, this "hetero-by-default" garbage that is everywhere in academia and "literature." It feels like homophobia. And so I make little notes as I read a chapter once in a while, as much as I can tolerate. And some of my thoughts are recorded in this section as well. === 420 === [[File:Pleasant Valley Nurseries - 1901 (catalog) (1901) (20561298265).jpg|thumb|Avery large, handsome nut, that has been grown in Pennsylvania for many years, and is found so nearly identical with Paragon in growth and fruit that it is not improbable that it was a nut of this variety from which Mr. Schaeffer, of Germantown, grew the original Paragon tree. Comes to fruitage very young, and is an enormous bearer of nuts of very good quality. Ripens October 10 to 25. COOPER. Tree a vigorous grower and very productive ; bur large ; nuts large, smooth and glossy, with little fuzz, usually 3 in a bur ; quality very good. A strikingly handsome nut on account of its dark, glossy appearance.]] There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> Vendler writes that this poem "may obliquely bear on gender." Even as a "gay dude" this poem reads as explicitly about female beauty and eroticism. She writes: "Her poetry, nonetheless, bears witness to the development of an extraordinary spiritual life (193)." I mean, it could. But it's also about lesbians. Who's reading themself into it? Vendler with her spirituality, or me with my queerness? I'd argue Vendler is. She is working off this idea that ED was a lonely, helpless, celibate, recluse. I'm working off this idea that Emily Dickinson Was Queer. Another queer thing about this poem is that it is a riddle. Many of ED's poems have this "if you know you know" quality to them. If you know a chestnut you'll recognize it in this poem. If you don't, you'll never know you didn't know. You could read this poem and think it's just about fruits, but it is (more importantly?) about chestnuts. You could read this poem and thing it's just about spirituality, but it's also about queer bodies. == References == <references/> 980bd9d4b92bf29a17a293e4cd068818fbd43060 851 850 2023-05-08T12:44:31Z 2600:1700:562:9C80:FDFB:4E81:ECF6:ACD9 0 wikitext text/x-wiki Emily Dickinson was Queer. == Section A == == Section B == == Section C == == Queering Readings == Once, at a reading at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." So I ordered Helen Vendler's commentary on Dickinson and had it shipped back home. I read the first commentary on November 12, 2015. In 2016 I'd start a Ph.D. in Poetry. I wouldn't come back to it until I was done, in May of 2021. It looks like my first notes of "divergence" from Vendler's readings began on the 5th commentary, May 12, 2021 on "Safe in their Alabaster Chambers -". "She alone <nowiki>[(Dickinson)]</nowiki>," Vendler writes, "distinguishes herself from he family flock--the unbeliever commenting on the deluded faithful.<ref>Vendler, Helen. ''Dickinson: Selected Poems &amp; Commentaries''. 2012. </ref>" I took it personal. I knew that Emily loved her family, or at least her sister-in-law, that she was ''in'' love with her sister-in-law. I remember, too reading, that her teachers called her "irredeemable. [citation needed]" Vendler seemed to have a kind of contempt here for Dickinson, or at least my own experience as a queer person of faith kicked out of my church community made me read it that way. As I read on I looked for some acknowledgment of Dickinson's queerness from Vendler, but didn't find it. What I found, though, was what read as misreadings to me, if you just take into account some level of Dickinson's queerness. It feels like the erasing and straightwashing, this "hetero-by-default" garbage that is everywhere in academia and "literature." It feels like homophobia. And so I make little notes as I read a chapter once in a while, as much as I can tolerate. And some of my thoughts are recorded in this section as well. === 420 === [[File:Pleasant Valley Nurseries - 1901 (catalog) (1901) (20561298265).jpg|thumb|Avery large, handsome nut, that has been grown in Pennsylvania for many years, and is found so nearly identical with Paragon in growth and fruit that it is not improbable that it was a nut of this variety from which Mr. Schaeffer, of Germantown, grew the original Paragon tree. Comes to fruitage very young, and is an enormous bearer of nuts of very good quality. Ripens October 10 to 25. COOPER. Tree a vigorous grower and very productive ; bur large ; nuts large, smooth and glossy, with little fuzz, usually 3 in a bur ; quality very good. A strikingly handsome nut on account of its dark, glossy appearance.]] There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> Vendler writes that this poem "may obliquely bear on gender." Even as a "gay dude" this poem reads as explicitly about female beauty and eroticism. She writes: "Her poetry, nonetheless, bears witness to the development of an extraordinary spiritual life (193)." I mean, it could. But it's also about lesbians. Who's reading themself into it? Vendler with her spirituality, or me with my queerness? I'd argue Vendler is. She is working off this idea that ED was a lonely, helpless, celibate, recluse. I'm working off this idea that Emily Dickinson Was Queer. Another queer thing about this poem is that it is a riddle. Many of ED's poems have this "if you know you know" quality to them. If you know a chestnut you'll recognize it in this poem. If you don't, you'll never know you didn't know. You could read this poem and think it's just about fruits, but it is (more importantly?) about chestnuts. You could read this poem and think it's just about spirituality, but it's also about queer bodies. == References == <references/> aefd36c60af7d8edb186aa8d7d0ad041ca334f03 852 851 2023-05-08T12:45:03Z 2600:1700:562:9C80:FDFB:4E81:ECF6:ACD9 0 wikitext text/x-wiki Emily Dickinson was Queer. == Section A == == Section B == == Section C == == Queering Readings == Once, at a reading at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." So I ordered Helen Vendler's commentary on Dickinson and had it shipped back home. I read the first commentary on November 12, 2015. In 2016 I'd start a Ph.D. in Poetry. I wouldn't come back to it until I was done, in May of 2021. It looks like my first notes of "divergence" from Vendler's readings began on the 5th commentary, May 12, 2021 on "Safe in their Alabaster Chambers -". "She alone <nowiki>[(Dickinson)]</nowiki>," Vendler writes, "distinguishes herself from he family flock--the unbeliever commenting on the deluded faithful.<ref>Vendler, Helen. ''Dickinson: Selected Poems &amp; Commentaries''. 2012. </ref>" I took it personal. I knew that Emily loved her family, or at least her sister-in-law, that she was ''in'' love with her sister-in-law. I remember, too reading, that her teachers called her "irredeemable. [citation needed]" Vendler seemed to have a kind of contempt here for Dickinson, or at least my own experience as a queer person of faith kicked out of my church community made me read it that way. As I read on I looked for some acknowledgment of Dickinson's queerness from Vendler, but didn't find it. What I found, though, was what read as misreadings to me, if you just take into account some level of Dickinson's queerness. It feels like the erasing and straightwashing, this "hetero-by-default" garbage that is everywhere in academia and "literature." It feels like homophobia. And so I make little notes as I read a chapter once in a while, as much as I can tolerate. And some of my thoughts are recorded in this section as well. === 420 === [[File:Pleasant Valley Nurseries - 1901 (catalog) (1901) (20561298265).jpg|thumb|A very large, handsome nut, that has been grown in Pennsylvania for many years, and is found so nearly identical with Paragon in growth and fruit that it is not improbable that it was a nut of this variety from which Mr. Schaeffer, of Germantown, grew the original Paragon tree. Comes to fruitage very young, and is an enormous bearer of nuts of very good quality. Ripens October 10 to 25. COOPER. Tree a vigorous grower and very productive ; bur large ; nuts large, smooth and glossy, with little fuzz, usually 3 in a bur ; quality very good. A strikingly handsome nut on account of its dark, glossy appearance.]] There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> Vendler writes that this poem "may obliquely bear on gender." Even as a "gay dude" this poem reads as explicitly about female beauty and eroticism. She writes: "Her poetry, nonetheless, bears witness to the development of an extraordinary spiritual life (193)." I mean, it could. But it's also about lesbians. Who's reading themself into it? Vendler with her spirituality, or me with my queerness? I'd argue Vendler is. She is working off this idea that ED was a lonely, helpless, celibate, recluse. I'm working off this idea that Emily Dickinson Was Queer. Another queer thing about this poem is that it is a riddle. Many of ED's poems have this "if you know you know" quality to them. If you know a chestnut you'll recognize it in this poem. If you don't, you'll never know you didn't know. You could read this poem and think it's just about fruits, but it is (more importantly?) about chestnuts. You could read this poem and think it's just about spirituality, but it's also about queer bodies. == References == <references/> 690842bb8761536486ca7fb8cec1ccc22c31ac5d 855 852 2023-05-09T17:29:25Z Matrim112830 2 wikitext text/x-wiki Emily Dickinson was Queer. == Section A == == Section B == == Section C == == Queering Readings == Once, at a reading at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." So I ordered Helen Vendler's commentary on Dickinson and had it shipped back home. I read the first commentary on November 12, 2015. In 2016 I'd start a Ph.D. in Poetry. I wouldn't come back to Vendler until I was done with the program, in May of 2021. It looks like my first notes of "divergence" from Vendler's readings began on the 5th commentary, May 12, 2021 on "Safe in their Alabaster Chambers -". "She alone <nowiki>[(Dickinson)]</nowiki>," Vendler writes, "distinguishes herself from he family flock--the unbeliever commenting on the deluded faithful.<ref>Vendler, Helen. ''Dickinson: Selected Poems &amp; Commentaries''. 2012. </ref>" I took it personal. I knew that Emily loved her family, or at least her sister-in-law, that she was ''in'' love with her sister-in-law. I remember, too reading, that her teachers called her "irredeemable. [citation needed]" Vendler seemed to have a kind of contempt here for Dickinson, or at least my own experience as a queer person of faith kicked out of my church community made me read it that way. As I read on I looked for some acknowledgment of Dickinson's queerness from Vendler, but didn't find it. What I found, though, was what read as misreadings to me, if you just take into account some level of Dickinson's queerness. It feels like the erasing and straightwashing, this "hetero-by-default" garbage that is everywhere in academia and "literature." It feels like homophobia. And so I make little notes as I read a chapter once in a while, as much as I can tolerate. And some of my thoughts are recorded in this section as well. === 420 === [[File:Pleasant Valley Nurseries - 1901 (catalog) (1901) (20561298265).jpg|thumb|A very large, handsome nut, that has been grown in Pennsylvania for many years, and is found so nearly identical with Paragon in growth and fruit that it is not improbable that it was a nut of this variety from which Mr. Schaeffer, of Germantown, grew the original Paragon tree. Comes to fruitage very young, and is an enormous bearer of nuts of very good quality. Ripens October 10 to 25. COOPER. Tree a vigorous grower and very productive ; bur large ; nuts large, smooth and glossy, with little fuzz, usually 3 in a bur ; quality very good. A strikingly handsome nut on account of its dark, glossy appearance.]] There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> Vendler writes that this poem "may obliquely bear on gender." Even as a "gay dude" this poem reads as explicitly about female beauty and eroticism. She writes: "Her poetry, nonetheless, bears witness to the development of an extraordinary spiritual life (193)." I mean, it could. But it's also about lesbians. Who's reading themself into it? Vendler with her spirituality, or me with my queerness? I'd argue Vendler is. She is working off this idea that ED was a lonely, helpless, celibate, recluse. I'm working off this idea that Emily Dickinson Was Queer. Another queer thing about this poem is that it is a riddle. Many of ED's poems have this "if you know you know" quality to them. If you know a chestnut you'll recognize it in this poem. If you don't, you'll never know you didn't know. You could read this poem and think it's just about fruits, but it is (more importantly?) about chestnuts. You could read this poem and think it's just about spirituality, but it's also about queer bodies. == References == <references/> bdd4feff8c6990a3332082cfb2914f3e064eb08d 6 83 847 2023-05-05T14:51:27Z Matrim112830 2 wikitext text/x-wiki Avery large, handsome nut, that has been grown in Pennsylvania for many years, and is found so nearly identical with Paragon in growth and fruit that it is not improbable that it was a nut of this variety from which Mr. Schaeffer, of Germantown, grew the original Paragon tree. Comes to fruitage very young, and is an enormous bearer of nuts of very good quality. Ripens October 10 to 25. COOPER. Tree a vigorous grower and very productive ; bur large ; nuts large, smooth and glossy, with little fuzz, usually 3 in a bur ; quality very good. A strikingly handsome nut on account of its dark, glossy appearance. 291205d247db3e7b34a344061e484e4dfa846590 828 139 1002 2023-05-08T11:41:01Z wikipedia>Fayenatic london 0 Update categories from "fully-protected" to "fully protected", removing hyphen, per valid request at [[WP:CFDS]] Scribunto text/plain -- This module provides configuration data for [[Module:Protection banner]]. return { -------------------------------------------------------------------------------- -- -- BANNER DATA -- -------------------------------------------------------------------------------- --[[ -- Banner data consists of six fields: -- * text - the main protection text that appears at the top of protection -- banners. -- * explanation - the text that appears below the main protection text, used -- to explain the details of the protection. -- * tooltip - the tooltip text you see when you move the mouse over a small -- padlock icon. -- * link - the page that the small padlock icon links to. -- * alt - the alt text for the small padlock icon. This is also used as tooltip -- text for the large protection banners. -- * image - the padlock image used in both protection banners and small padlock -- icons. -- -- The module checks in three separate tables to find a value for each field. -- First it checks the banners table, which has values specific to the reason -- for the page being protected. Then the module checks the defaultBanners -- table, which has values specific to each protection level. Finally, the -- module checks the masterBanner table, which holds data for protection -- templates to use if no data has been found in the previous two tables. -- -- The values in the banner data can take parameters. These are specified -- using ${TEXTLIKETHIS} (a dollar sign preceding a parameter name -- enclosed in curly braces). -- -- Available parameters: -- -- ${CURRENTVERSION} - a link to the page history or the move log, with the -- display message "current-version-edit-display" or -- "current-version-move-display". -- -- ${EDITREQUEST} - a link to create an edit request for the current page. -- -- ${EXPLANATIONBLURB} - an explanation blurb, e.g. "Please discuss any changes -- on the talk page; you may submit a request to ask an administrator to make -- an edit if it is minor or supported by consensus." -- -- ${IMAGELINK} - a link to set the image to, depending on the protection -- action and protection level. -- -- ${INTROBLURB} - the PROTECTIONBLURB parameter, plus the expiry if an expiry -- is set. E.g. "Editing of this page by new or unregistered users is currently -- disabled until dd Month YYYY." -- -- ${INTROFRAGMENT} - the same as ${INTROBLURB}, but without final punctuation -- so that it can be used in run-on sentences. -- -- ${PAGETYPE} - the type of the page, e.g. "article" or "template". -- Defined in the cfg.pagetypes table. -- -- ${PROTECTIONBLURB} - a blurb explaining the protection level of the page, e.g. -- "Editing of this page by new or unregistered users is currently disabled" -- -- ${PROTECTIONDATE} - the protection date, if it has been supplied to the -- template. -- -- ${PROTECTIONLEVEL} - the protection level, e.g. "fully protected" or -- "semi-protected". -- -- ${PROTECTIONLOG} - a link to the protection log or the pending changes log, -- depending on the protection action. -- -- ${TALKPAGE} - a link to the talk page. If a section is specified, links -- straight to that talk page section. -- -- ${TOOLTIPBLURB} - uses the PAGETYPE, PROTECTIONTYPE and EXPIRY parameters to -- create a blurb like "This template is semi-protected", or "This article is -- move-protected until DD Month YYYY". -- -- ${VANDAL} - links for the specified username (or the root page name) -- using Module:Vandal-m. -- -- Functions -- -- For advanced users, it is possible to use Lua functions instead of strings -- in the banner config tables. Using functions gives flexibility that is not -- possible just by using parameters. Functions take two arguments, the -- protection object and the template arguments, and they must output a string. -- -- For example: -- -- text = function (protectionObj, args) -- if protectionObj.level == 'autoconfirmed' then -- return 'foo' -- else -- return 'bar' -- end -- end -- -- Some protection object properties and methods that may be useful: -- protectionObj.action - the protection action -- protectionObj.level - the protection level -- protectionObj.reason - the protection reason -- protectionObj.expiry - the expiry. Nil if unset, the string "indef" if set -- to indefinite, and the protection time in unix time if temporary. -- protectionObj.protectionDate - the protection date in unix time, or nil if -- unspecified. -- protectionObj.bannerConfig - the banner config found by the module. Beware -- of editing the config field used by the function, as it could create an -- infinite loop. -- protectionObj:isProtected - returns a boolean showing whether the page is -- protected. -- protectionObj:isTemporary - returns a boolean showing whether the expiry is -- temporary. -- protectionObj:isIncorrect - returns a boolean showing whether the protection -- template is incorrect. --]] -- The master banner data, used if no values have been found in banners or -- defaultBanners. masterBanner = { text = '${INTROBLURB}', explanation = '${EXPLANATIONBLURB}', tooltip = '${TOOLTIPBLURB}', link = '${IMAGELINK}', alt = 'Page ${PROTECTIONLEVEL}' }, -- The default banner data. This holds banner data for different protection -- levels. -- *required* - this table needs edit, move, autoreview and upload subtables. defaultBanners = { edit = {}, move = {}, autoreview = { default = { alt = 'Page protected with pending changes', tooltip = 'All edits by unregistered and new users are subject to review prior to becoming visible to unregistered users', image = 'Pending-protection-shackle.svg' } }, upload = {} }, -- The banner data. This holds banner data for different protection reasons. -- In fact, the reasons specified in this table control which reasons are -- valid inputs to the first positional parameter. -- -- There is also a non-standard "description" field that can be used for items -- in this table. This is a description of the protection reason for use in the -- module documentation. -- -- *required* - this table needs edit, move, autoreview and upload subtables. banners = { edit = { blp = { description = 'For pages protected to promote compliance with the' .. ' [[Wikipedia:Biographies of living persons' .. '|biographies of living persons]] policy', text = '${INTROFRAGMENT} to promote compliance with' .. ' [[Wikipedia:Biographies of living persons' .. "|Wikipedia's&nbsp;policy on&nbsp;the&nbsp;biographies" .. ' of&nbsp;living&nbsp;people]].', tooltip = '${TOOLTIPFRAGMENT} to promote compliance with the policy on' .. ' biographies of living persons', }, dmca = { description = 'For pages protected by the Wikimedia Foundation' .. ' due to [[Digital Millennium Copyright Act]] takedown requests', explanation = function (protectionObj, args) local ret = 'Pursuant to a rights owner notice under the Digital' .. ' Millennium Copyright Act (DMCA) regarding some content' .. ' in this article, the Wikimedia Foundation acted under' .. ' applicable law and took down and restricted the content' .. ' in question.' if args.notice then ret = ret .. ' A copy of the received notice can be found here: ' .. args.notice .. '.' end ret = ret .. ' For more information, including websites discussing' .. ' how to file a counter-notice, please see' .. " [[Wikipedia:Office actions]] and the article's ${TALKPAGE}." .. "'''Do not remove this template from the article until the" .. " restrictions are withdrawn'''." return ret end, image = 'Office-protection-shackle.svg', }, dispute = { description = 'For pages protected due to editing disputes', text = function (protectionObj, args) -- Find the value of "disputes". local display = 'disputes' local disputes if args.section then disputes = string.format( '[[%s:%s#%s|%s]]', mw.site.namespaces[protectionObj.title.namespace].talk.name, protectionObj.title.text, args.section, display ) else disputes = display end -- Make the blurb, depending on the expiry. local msg if type(protectionObj.expiry) == 'number' then msg = '${INTROFRAGMENT} or until editing %s have been resolved.' else msg = '${INTROFRAGMENT} until editing %s have been resolved.' end return string.format(msg, disputes) end, explanation = "This protection is '''not''' an endorsement of the" .. ' ${CURRENTVERSION}. ${EXPLANATIONBLURB}', tooltip = '${TOOLTIPFRAGMENT} due to editing disputes', }, ecp = { description = 'For articles in topic areas authorized by' .. ' [[Wikipedia:Arbitration Committee|ArbCom]] or' .. ' meets the criteria for community use', tooltip = 'This ${PAGETYPE} is ${PROTECTIONLEVEL}', alt = 'Extended-protected ${PAGETYPE}', }, mainpage = { description = 'For pages protected for being displayed on the [[Main Page]]', text = 'This file is currently' .. ' [[Wikipedia:This page is protected|protected]] from' .. ' editing because it is currently or will soon be displayed' .. ' on the [[Main Page]].', explanation = 'Images on the Main Page are protected due to their high' .. ' visibility. Please discuss any necessary changes on the ${TALKPAGE}.' .. '<br /><span style="font-size:90%;">' .. "'''Administrators:''' Once this image is definitely off the Main Page," .. ' please unprotect this file, or reduce to semi-protection,' .. ' as appropriate.</span>', }, office = { description = 'For pages protected by the Wikimedia Foundation', text = function (protectionObj, args) local ret = 'This ${PAGETYPE} is currently under the' .. ' scrutiny of the' .. ' [[Wikipedia:Office actions|Wikimedia Foundation Office]]' .. ' and is protected.' if protectionObj.protectionDate then ret = ret .. ' It has been protected since ${PROTECTIONDATE}.' end return ret end, explanation = "If you can edit this page, please discuss all changes and" .. " additions on the ${TALKPAGE} first. '''Do not remove protection from this" .. " page unless you are authorized by the Wikimedia Foundation to do" .. " so.'''", image = 'Office-protection-shackle.svg', }, reset = { description = 'For pages protected by the Wikimedia Foundation and' .. ' "reset" to a bare-bones version', text = 'This ${PAGETYPE} is currently under the' .. ' scrutiny of the' .. ' [[Wikipedia:Office actions|Wikimedia Foundation Office]]' .. ' and is protected.', explanation = function (protectionObj, args) local ret = '' if protectionObj.protectionDate then ret = ret .. 'On ${PROTECTIONDATE} this ${PAGETYPE} was' else ret = ret .. 'This ${PAGETYPE} has been' end ret = ret .. ' reduced to a' .. ' simplified, "bare bones" version so that it may be completely' .. ' rewritten to ensure it meets the policies of' .. ' [[WP:NPOV|Neutral Point of View]] and [[WP:V|Verifiability]].' .. ' Standard Wikipedia policies will apply to its rewriting—which' .. ' will eventually be open to all editors—and will be strictly' .. ' enforced. The ${PAGETYPE} has been ${PROTECTIONLEVEL} while' .. ' it is being rebuilt.\n\n' .. 'Any insertion of material directly from' .. ' pre-protection revisions of the ${PAGETYPE} will be removed, as' .. ' will any material added to the ${PAGETYPE} that is not properly' .. ' sourced. The associated talk page(s) were also cleared on the' .. " same date.\n\n" .. "If you can edit this page, please discuss all changes and" .. " additions on the ${TALKPAGE} first. '''Do not override" .. " this action, and do not remove protection from this page," .. " unless you are authorized by the Wikimedia Foundation" .. " to do so. No editor may remove this notice.'''" return ret end, image = 'Office-protection-shackle.svg', }, sock = { description = 'For pages protected due to' .. ' [[Wikipedia:Sock puppetry|sock puppetry]]', text = '${INTROFRAGMENT} to prevent [[Wikipedia:Sock puppetry|sock puppets]] of' .. ' [[Wikipedia:Blocking policy|blocked]] or' .. ' [[Wikipedia:Banning policy|banned users]]' .. ' from editing it.', tooltip = '${TOOLTIPFRAGMENT} to prevent sock puppets of blocked or banned users from' .. ' editing it', }, template = { description = 'For [[Wikipedia:High-risk templates|high-risk]]' .. ' templates and Lua modules', text = 'This is a permanently [[Help:Protection|protected]] ${PAGETYPE},' .. ' as it is [[Wikipedia:High-risk templates|high-risk]].', explanation = 'Please discuss any changes on the ${TALKPAGE}; you may' .. ' ${EDITREQUEST} to ask an' .. ' [[Wikipedia:Administrators|administrator]] or' .. ' [[Wikipedia:Template editor|template editor]] to make an edit if' .. ' it is [[Help:Minor edit#When to mark an edit as a minor edit' .. '|uncontroversial]] or supported by' .. ' [[Wikipedia:Consensus|consensus]]. You can also' .. ' [[Wikipedia:Requests for page protection|request]] that the page be' .. ' unprotected.', tooltip = 'This high-risk ${PAGETYPE} is permanently ${PROTECTIONLEVEL}' .. ' to prevent vandalism', alt = 'Permanently protected ${PAGETYPE}', }, usertalk = { description = 'For pages protected against disruptive edits by a' .. ' particular user', text = '${INTROFRAGMENT} to prevent ${VANDAL} from using it to make disruptive edits,' .. ' such as abusing the' .. ' &#123;&#123;[[Template:unblock|unblock]]&#125;&#125; template.', explanation = 'If you cannot edit this user talk page and you need to' .. ' make a change or leave a message, you can' .. ' [[Wikipedia:Requests for page protection' .. '#Current requests for edits to a protected page' .. '|request an edit]],' .. ' [[Wikipedia:Requests for page protection' .. '#Current requests for reduction in protection level' .. '|request unprotection]],' .. ' [[Special:Userlogin|log in]],' .. ' or [[Special:UserLogin/signup|create an account]].', }, vandalism = { description = 'For pages protected against' .. ' [[Wikipedia:Vandalism|vandalism]]', text = '${INTROFRAGMENT} due to [[Wikipedia:Vandalism|vandalism]].', explanation = function (protectionObj, args) local ret = '' if protectionObj.level == 'sysop' then ret = ret .. "This protection is '''not''' an endorsement of the" .. ' ${CURRENTVERSION}. ' end return ret .. '${EXPLANATIONBLURB}' end, tooltip = '${TOOLTIPFRAGMENT} due to vandalism', } }, move = { dispute = { description = 'For pages protected against page moves due to' .. ' disputes over the page title', explanation = "This protection is '''not''' an endorsement of the" .. ' ${CURRENTVERSION}. ${EXPLANATIONBLURB}', image = 'Move-protection-shackle.svg' }, vandalism = { description = 'For pages protected against' .. ' [[Wikipedia:Vandalism#Page-move vandalism' .. ' |page-move vandalism]]' } }, autoreview = {}, upload = {} }, -------------------------------------------------------------------------------- -- -- GENERAL DATA TABLES -- -------------------------------------------------------------------------------- -------------------------------------------------------------------------------- -- Protection blurbs -------------------------------------------------------------------------------- -- This table produces the protection blurbs available with the -- ${PROTECTIONBLURB} parameter. It is sorted by protection action and -- protection level, and is checked by the module in the following order: -- 1. page's protection action, page's protection level -- 2. page's protection action, default protection level -- 3. "edit" protection action, default protection level -- -- It is possible to use banner parameters inside this table. -- *required* - this table needs edit, move, autoreview and upload subtables. protectionBlurbs = { edit = { default = 'This ${PAGETYPE} is currently [[Help:Protection|' .. 'protected]] from editing', autoconfirmed = 'Editing of this ${PAGETYPE} by [[Wikipedia:User access' .. ' levels#New users|new]] or [[Wikipedia:User access levels#Unregistered' .. ' users|unregistered]] users is currently [[Help:Protection|disabled]]', extendedconfirmed = 'This ${PAGETYPE} is currently under extended confirmed protection', }, move = { default = 'This ${PAGETYPE} is currently [[Help:Protection|protected]]' .. ' from [[Help:Moving a page|page moves]]' }, autoreview = { default = 'All edits made to this ${PAGETYPE} by' .. ' [[Wikipedia:User access levels#New users|new]] or' .. ' [[Wikipedia:User access levels#Unregistered users|unregistered]]' .. ' users are currently' .. ' [[Wikipedia:Pending changes|subject to review]]' }, upload = { default = 'Uploading new versions of this ${PAGETYPE} is currently disabled' } }, -------------------------------------------------------------------------------- -- Explanation blurbs -------------------------------------------------------------------------------- -- This table produces the explanation blurbs available with the -- ${EXPLANATIONBLURB} parameter. It is sorted by protection action, -- protection level, and whether the page is a talk page or not. If the page is -- a talk page it will have a talk key of "talk"; otherwise it will have a talk -- key of "subject". The table is checked in the following order: -- 1. page's protection action, page's protection level, page's talk key -- 2. page's protection action, page's protection level, default talk key -- 3. page's protection action, default protection level, page's talk key -- 4. page's protection action, default protection level, default talk key -- -- It is possible to use banner parameters inside this table. -- *required* - this table needs edit, move, autoreview and upload subtables. explanationBlurbs = { edit = { autoconfirmed = { subject = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details. If you' .. ' cannot edit this ${PAGETYPE} and you wish to make a change, you can' .. ' ${EDITREQUEST}, discuss changes on the ${TALKPAGE},' .. ' [[Wikipedia:Requests for page protection' .. '#Current requests for reduction in protection level' .. '|request unprotection]], [[Special:Userlogin|log in]], or' .. ' [[Special:UserLogin/signup|create an account]].', default = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details. If you' .. ' cannot edit this ${PAGETYPE} and you wish to make a change, you can' .. ' [[Wikipedia:Requests for page protection' .. '#Current requests for reduction in protection level' .. '|request unprotection]], [[Special:Userlogin|log in]], or' .. ' [[Special:UserLogin/signup|create an account]].', }, extendedconfirmed = { default = 'Extended confirmed protection prevents edits from all unregistered editors' .. ' and registered users with fewer than 30 days tenure and 500 edits.' .. ' The [[Wikipedia:Protection policy#extended|policy on community use]]' .. ' specifies that extended confirmed protection can be applied to combat' .. ' disruption, if semi-protection has proven to be ineffective.' .. ' Extended confirmed protection may also be applied to enforce' .. ' [[Wikipedia:Arbitration Committee|arbitration sanctions]].' .. ' Please discuss any changes on the ${TALKPAGE}; you may' .. ' ${EDITREQUEST} to ask for uncontroversial changes supported by' .. ' [[Wikipedia:Consensus|consensus]].' }, default = { subject = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details.' .. ' Please discuss any changes on the ${TALKPAGE}; you' .. ' may ${EDITREQUEST} to ask an' .. ' [[Wikipedia:Administrators|administrator]] to make an edit if it' .. ' is [[Help:Minor edit#When to mark an edit as a minor edit' .. '|uncontroversial]] or supported by [[Wikipedia:Consensus' .. '|consensus]]. You may also [[Wikipedia:Requests for' .. ' page protection#Current requests for reduction in protection level' .. '|request]] that this page be unprotected.', default = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details.' .. ' You may [[Wikipedia:Requests for page' .. ' protection#Current requests for edits to a protected page|request an' .. ' edit]] to this page, or [[Wikipedia:Requests for' .. ' page protection#Current requests for reduction in protection level' .. '|ask]] for it to be unprotected.' } }, move = { default = { subject = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details.' .. ' The page may still be edited but cannot be moved' .. ' until unprotected. Please discuss any suggested moves on the' .. ' ${TALKPAGE} or at [[Wikipedia:Requested moves]]. You can also' .. ' [[Wikipedia:Requests for page protection|request]] that the page be' .. ' unprotected.', default = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details.' .. ' The page may still be edited but cannot be moved' .. ' until unprotected. Please discuss any suggested moves at' .. ' [[Wikipedia:Requested moves]]. You can also' .. ' [[Wikipedia:Requests for page protection|request]] that the page be' .. ' unprotected.' } }, autoreview = { default = { default = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details.' .. ' Edits to this ${PAGETYPE} by new and unregistered users' .. ' will not be visible to readers until they are accepted by' .. ' a reviewer. To avoid the need for your edits to be' .. ' reviewed, you may' .. ' [[Wikipedia:Requests for page protection' .. '#Current requests for reduction in protection level' .. '|request unprotection]], [[Special:Userlogin|log in]], or' .. ' [[Special:UserLogin/signup|create an account]].' }, }, upload = { default = { default = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details.' .. ' The page may still be edited but new versions of the file' .. ' cannot be uploaded until it is unprotected. You can' .. ' request that a new version be uploaded by using a' .. ' [[Wikipedia:Edit requests|protected edit request]], or you' .. ' can [[Wikipedia:Requests for page protection|request]]' .. ' that the file be unprotected.' } } }, -------------------------------------------------------------------------------- -- Protection levels -------------------------------------------------------------------------------- -- This table provides the data for the ${PROTECTIONLEVEL} parameter, which -- produces a short label for different protection levels. It is sorted by -- protection action and protection level, and is checked in the following -- order: -- 1. page's protection action, page's protection level -- 2. page's protection action, default protection level -- 3. "edit" protection action, default protection level -- -- It is possible to use banner parameters inside this table. -- *required* - this table needs edit, move, autoreview and upload subtables. protectionLevels = { edit = { default = 'protected', templateeditor = 'template-protected', extendedconfirmed = 'extended-protected', autoconfirmed = 'semi-protected', }, move = { default = 'move-protected' }, autoreview = { }, upload = { default = 'upload-protected' } }, -------------------------------------------------------------------------------- -- Images -------------------------------------------------------------------------------- -- This table lists different padlock images for each protection action and -- protection level. It is used if an image is not specified in any of the -- banner data tables, and if the page does not satisfy the conditions for using -- the ['image-filename-indef'] image. It is checked in the following order: -- 1. page's protection action, page's protection level -- 2. page's protection action, default protection level images = { edit = { default = 'Full-protection-shackle.svg', templateeditor = 'Template-protection-shackle.svg', extendedconfirmed = 'Extended-protection-shackle.svg', autoconfirmed = 'Semi-protection-shackle.svg' }, move = { default = 'Move-protection-shackle.svg', }, autoreview = { default = 'Pending-protection-shackle.svg' }, upload = { default = 'Upload-protection-shackle.svg' } }, -- Pages with a reason specified in this table will show the special "indef" -- padlock, defined in the 'image-filename-indef' message, if no expiry is set. indefImageReasons = { template = true }, -------------------------------------------------------------------------------- -- Image links -------------------------------------------------------------------------------- -- This table provides the data for the ${IMAGELINK} parameter, which gets -- the image link for small padlock icons based on the page's protection action -- and protection level. It is checked in the following order: -- 1. page's protection action, page's protection level -- 2. page's protection action, default protection level -- 3. "edit" protection action, default protection level -- -- It is possible to use banner parameters inside this table. -- *required* - this table needs edit, move, autoreview and upload subtables. imageLinks = { edit = { default = 'Wikipedia:Protection policy#full', templateeditor = 'Wikipedia:Protection policy#template', extendedconfirmed = 'Wikipedia:Protection policy#extended', autoconfirmed = 'Wikipedia:Protection policy#semi' }, move = { default = 'Wikipedia:Protection policy#move' }, autoreview = { default = 'Wikipedia:Protection policy#pending' }, upload = { default = 'Wikipedia:Protection policy#upload' } }, -------------------------------------------------------------------------------- -- Padlock indicator names -------------------------------------------------------------------------------- -- This table provides the "name" attribute for the <indicator> extension tag -- with which small padlock icons are generated. All indicator tags on a page -- are displayed in alphabetical order based on this attribute, and with -- indicator tags with duplicate names, the last tag on the page wins. -- The attribute is chosen based on the protection action; table keys must be a -- protection action name or the string "default". padlockIndicatorNames = { autoreview = 'pp-autoreview', default = 'pp-default' }, -------------------------------------------------------------------------------- -- Protection categories -------------------------------------------------------------------------------- --[[ -- The protection categories are stored in the protectionCategories table. -- Keys to this table are made up of the following strings: -- -- 1. the expiry date -- 2. the namespace -- 3. the protection reason (e.g. "dispute" or "vandalism") -- 4. the protection level (e.g. "sysop" or "autoconfirmed") -- 5. the action (e.g. "edit" or "move") -- -- When the module looks up a category in the table, first it will will check to -- see a key exists that corresponds to all five parameters. For example, a -- user page semi-protected from vandalism for two weeks would have the key -- "temp-user-vandalism-autoconfirmed-edit". If no match is found, the module -- changes the first part of the key to "all" and checks the table again. It -- keeps checking increasingly generic key combinations until it finds the -- field, or until it reaches the key "all-all-all-all-all". -- -- The module uses a binary matrix to determine the order in which to search. -- This is best demonstrated by a table. In this table, the "0" values -- represent "all", and the "1" values represent the original data (e.g. -- "indef" or "file" or "vandalism"). -- -- expiry namespace reason level action -- order -- 1 1 1 1 1 1 -- 2 0 1 1 1 1 -- 3 1 0 1 1 1 -- 4 0 0 1 1 1 -- 5 1 1 0 1 1 -- 6 0 1 0 1 1 -- 7 1 0 0 1 1 -- 8 0 0 0 1 1 -- 9 1 1 1 0 1 -- 10 0 1 1 0 1 -- 11 1 0 1 0 1 -- 12 0 0 1 0 1 -- 13 1 1 0 0 1 -- 14 0 1 0 0 1 -- 15 1 0 0 0 1 -- 16 0 0 0 0 1 -- 17 1 1 1 1 0 -- 18 0 1 1 1 0 -- 19 1 0 1 1 0 -- 20 0 0 1 1 0 -- 21 1 1 0 1 0 -- 22 0 1 0 1 0 -- 23 1 0 0 1 0 -- 24 0 0 0 1 0 -- 25 1 1 1 0 0 -- 26 0 1 1 0 0 -- 27 1 0 1 0 0 -- 28 0 0 1 0 0 -- 29 1 1 0 0 0 -- 30 0 1 0 0 0 -- 31 1 0 0 0 0 -- 32 0 0 0 0 0 -- -- In this scheme the action has the highest priority, as it is the last -- to change, and the expiry has the least priority, as it changes the most. -- The priorities of the expiry, the protection level and the action are -- fixed, but the priorities of the reason and the namespace can be swapped -- through the use of the cfg.bannerDataNamespaceHasPriority table. --]] -- If the reason specified to the template is listed in this table, -- namespace data will take priority over reason data in the protectionCategories -- table. reasonsWithNamespacePriority = { vandalism = true, }, -- The string to use as a namespace key for the protectionCategories table for each -- namespace number. categoryNamespaceKeys = { [ 2] = 'user', [ 3] = 'user', [ 4] = 'project', [ 6] = 'file', [ 8] = 'mediawiki', [ 10] = 'template', [ 12] = 'project', [ 14] = 'category', [100] = 'portal', [828] = 'module', }, protectionCategories = { ['all|all|all|all|all'] = 'Wikipedia fully protected pages', ['all|all|office|all|all'] = 'Wikipedia Office-protected pages', ['all|all|reset|all|all'] = 'Wikipedia Office-protected pages', ['all|all|dmca|all|all'] = 'Wikipedia Office-protected pages', ['all|all|mainpage|all|all'] = 'Wikipedia fully protected main page files', ['all|all|all|extendedconfirmed|all'] = 'Wikipedia extended-confirmed-protected pages', ['all|all|ecp|extendedconfirmed|all'] = 'Wikipedia extended-confirmed-protected pages', ['all|template|all|all|edit'] = 'Wikipedia fully protected templates', ['all|all|all|autoconfirmed|edit'] = 'Wikipedia semi-protected pages', ['indef|all|all|autoconfirmed|edit'] = 'Wikipedia indefinitely semi-protected pages', ['all|all|blp|autoconfirmed|edit'] = 'Wikipedia indefinitely semi-protected biographies of living people', ['temp|all|blp|autoconfirmed|edit'] = 'Wikipedia temporarily semi-protected biographies of living people', ['all|all|dispute|autoconfirmed|edit'] = 'Wikipedia pages semi-protected due to dispute', ['all|all|sock|autoconfirmed|edit'] = 'Wikipedia pages semi-protected from banned users', ['all|all|vandalism|autoconfirmed|edit'] = 'Wikipedia pages semi-protected against vandalism', ['all|category|all|autoconfirmed|edit'] = 'Wikipedia semi-protected categories', ['all|file|all|autoconfirmed|edit'] = 'Wikipedia semi-protected files', ['all|portal|all|autoconfirmed|edit'] = 'Wikipedia semi-protected portals', ['all|project|all|autoconfirmed|edit'] = 'Wikipedia semi-protected project pages', ['all|talk|all|autoconfirmed|edit'] = 'Wikipedia semi-protected talk pages', ['all|template|all|autoconfirmed|edit'] = 'Wikipedia semi-protected templates', ['all|user|all|autoconfirmed|edit'] = 'Wikipedia semi-protected user and user talk pages', ['all|all|all|templateeditor|edit'] = 'Wikipedia template-protected pages other than templates and modules', ['all|template|all|templateeditor|edit'] = 'Wikipedia template-protected templates', ['all|template|all|templateeditor|move'] = 'Wikipedia template-protected templates', -- move-protected templates ['all|all|blp|sysop|edit'] = 'Wikipedia indefinitely protected biographies of living people', ['temp|all|blp|sysop|edit'] = 'Wikipedia temporarily protected biographies of living people', ['all|all|dispute|sysop|edit'] = 'Wikipedia pages protected due to dispute', ['all|all|sock|sysop|edit'] = 'Wikipedia pages protected from banned users', ['all|all|vandalism|sysop|edit'] = 'Wikipedia pages protected against vandalism', ['all|category|all|sysop|edit'] = 'Wikipedia fully protected categories', ['all|file|all|sysop|edit'] = 'Wikipedia fully protected files', ['all|project|all|sysop|edit'] = 'Wikipedia fully protected project pages', ['all|talk|all|sysop|edit'] = 'Wikipedia fully protected talk pages', ['all|template|all|extendedconfirmed|edit'] = 'Wikipedia extended-confirmed-protected templates', ['all|template|all|sysop|edit'] = 'Wikipedia fully protected templates', ['all|user|all|sysop|edit'] = 'Wikipedia fully protected user and user talk pages', ['all|module|all|all|edit'] = 'Wikipedia fully protected modules', ['all|module|all|templateeditor|edit'] = 'Wikipedia template-protected modules', ['all|module|all|extendedconfirmed|edit'] = 'Wikipedia extended-confirmed-protected modules', ['all|module|all|autoconfirmed|edit'] = 'Wikipedia semi-protected modules', ['all|all|all|sysop|move'] = 'Wikipedia move-protected pages', ['indef|all|all|sysop|move'] = 'Wikipedia indefinitely move-protected pages', ['all|all|dispute|sysop|move'] = 'Wikipedia pages move-protected due to dispute', ['all|all|vandalism|sysop|move'] = 'Wikipedia pages move-protected due to vandalism', ['all|portal|all|sysop|move'] = 'Wikipedia move-protected portals', ['all|project|all|sysop|move'] = 'Wikipedia move-protected project pages', ['all|talk|all|sysop|move'] = 'Wikipedia move-protected talk pages', ['all|template|all|sysop|move'] = 'Wikipedia move-protected templates', ['all|user|all|sysop|move'] = 'Wikipedia move-protected user and user talk pages', ['all|all|all|autoconfirmed|autoreview'] = 'Wikipedia pending changes protected pages', ['all|file|all|all|upload'] = 'Wikipedia upload-protected files', }, -------------------------------------------------------------------------------- -- Expiry category config -------------------------------------------------------------------------------- -- This table configures the expiry category behaviour for each protection -- action. -- * If set to true, setting that action will always categorise the page if -- an expiry parameter is not set. -- * If set to false, setting that action will never categorise the page. -- * If set to nil, the module will categorise the page if: -- 1) an expiry parameter is not set, and -- 2) a reason is provided, and -- 3) the specified reason is not blacklisted in the reasonsWithoutExpiryCheck -- table. expiryCheckActions = { edit = nil, move = false, autoreview = true, upload = false }, reasonsWithoutExpiryCheck = { blp = true, template = true, }, -------------------------------------------------------------------------------- -- Pagetypes -------------------------------------------------------------------------------- -- This table produces the page types available with the ${PAGETYPE} parameter. -- Keys are namespace numbers, or the string "default" for the default value. pagetypes = { [0] = 'article', [6] = 'file', [10] = 'template', [14] = 'category', [828] = 'module', default = 'page' }, -------------------------------------------------------------------------------- -- Strings marking indefinite protection -------------------------------------------------------------------------------- -- This table contains values passed to the expiry parameter that mean the page -- is protected indefinitely. indefStrings = { ['indef'] = true, ['indefinite'] = true, ['indefinitely'] = true, ['infinite'] = true, }, -------------------------------------------------------------------------------- -- Group hierarchy -------------------------------------------------------------------------------- -- This table maps each group to all groups that have a superset of the original -- group's page editing permissions. hierarchy = { sysop = {}, reviewer = {'sysop'}, filemover = {'sysop'}, templateeditor = {'sysop'}, extendedconfirmed = {'sysop'}, autoconfirmed = {'reviewer', 'filemover', 'templateeditor', 'extendedconfirmed'}, user = {'autoconfirmed'}, ['*'] = {'user'} }, -------------------------------------------------------------------------------- -- Wrapper templates and their default arguments -------------------------------------------------------------------------------- -- This table contains wrapper templates used with the module, and their -- default arguments. Templates specified in this table should contain the -- following invocation, and no other template content: -- -- {{#invoke:Protection banner|main}} -- -- If other content is desired, it can be added between -- <noinclude>...</noinclude> tags. -- -- When a user calls one of these wrapper templates, they will use the -- default arguments automatically. However, users can override any of the -- arguments. wrappers = { ['Template:Pp'] = {}, ['Template:Pp-extended'] = {'ecp'}, ['Template:Pp-blp'] = {'blp'}, -- we don't need Template:Pp-create ['Template:Pp-dispute'] = {'dispute'}, ['Template:Pp-main-page'] = {'mainpage'}, ['Template:Pp-move'] = {action = 'move', catonly = 'yes'}, ['Template:Pp-move-dispute'] = {'dispute', action = 'move', catonly = 'yes'}, -- we don't need Template:Pp-move-indef ['Template:Pp-move-vandalism'] = {'vandalism', action = 'move', catonly = 'yes'}, ['Template:Pp-office'] = {'office'}, ['Template:Pp-office-dmca'] = {'dmca'}, ['Template:Pp-pc'] = {action = 'autoreview', small = true}, ['Template:Pp-pc1'] = {action = 'autoreview', small = true}, ['Template:Pp-reset'] = {'reset'}, ['Template:Pp-semi-indef'] = {small = true}, ['Template:Pp-sock'] = {'sock'}, ['Template:Pp-template'] = {'template', small = true}, ['Template:Pp-upload'] = {action = 'upload'}, ['Template:Pp-usertalk'] = {'usertalk'}, ['Template:Pp-vandalism'] = {'vandalism'}, }, -------------------------------------------------------------------------------- -- -- MESSAGES -- -------------------------------------------------------------------------------- msg = { -------------------------------------------------------------------------------- -- Intro blurb and intro fragment -------------------------------------------------------------------------------- -- These messages specify what is produced by the ${INTROBLURB} and -- ${INTROFRAGMENT} parameters. If the protection is temporary they use the -- intro-blurb-expiry or intro-fragment-expiry, and if not they use -- intro-blurb-noexpiry or intro-fragment-noexpiry. -- It is possible to use banner parameters in these messages. ['intro-blurb-expiry'] = '${PROTECTIONBLURB} until ${EXPIRY}.', ['intro-blurb-noexpiry'] = '${PROTECTIONBLURB}.', ['intro-fragment-expiry'] = '${PROTECTIONBLURB} until ${EXPIRY},', ['intro-fragment-noexpiry'] = '${PROTECTIONBLURB}', -------------------------------------------------------------------------------- -- Tooltip blurb -------------------------------------------------------------------------------- -- These messages specify what is produced by the ${TOOLTIPBLURB} parameter. -- If the protection is temporary the tooltip-blurb-expiry message is used, and -- if not the tooltip-blurb-noexpiry message is used. -- It is possible to use banner parameters in these messages. ['tooltip-blurb-expiry'] = 'This ${PAGETYPE} is ${PROTECTIONLEVEL} until ${EXPIRY}.', ['tooltip-blurb-noexpiry'] = 'This ${PAGETYPE} is ${PROTECTIONLEVEL}.', ['tooltip-fragment-expiry'] = 'This ${PAGETYPE} is ${PROTECTIONLEVEL} until ${EXPIRY},', ['tooltip-fragment-noexpiry'] = 'This ${PAGETYPE} is ${PROTECTIONLEVEL}', -------------------------------------------------------------------------------- -- Special explanation blurb -------------------------------------------------------------------------------- -- An explanation blurb for pages that cannot be unprotected, e.g. for pages -- in the MediaWiki namespace. -- It is possible to use banner parameters in this message. ['explanation-blurb-nounprotect'] = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details.' .. ' Please discuss any changes on the ${TALKPAGE}; you' .. ' may ${EDITREQUEST} to ask an' .. ' [[Wikipedia:Administrators|administrator]] to make an edit if it' .. ' is [[Help:Minor edit#When to mark an edit as a minor edit' .. '|uncontroversial]] or supported by [[Wikipedia:Consensus' .. '|consensus]].', -------------------------------------------------------------------------------- -- Protection log display values -------------------------------------------------------------------------------- -- These messages determine the display values for the protection log link -- or the pending changes log link produced by the ${PROTECTIONLOG} parameter. -- It is possible to use banner parameters in these messages. ['protection-log-display'] = 'protection log', ['pc-log-display'] = 'pending changes log', -------------------------------------------------------------------------------- -- Current version display values -------------------------------------------------------------------------------- -- These messages determine the display values for the page history link -- or the move log link produced by the ${CURRENTVERSION} parameter. -- It is possible to use banner parameters in these messages. ['current-version-move-display'] = 'current title', ['current-version-edit-display'] = 'current version', -------------------------------------------------------------------------------- -- Talk page -------------------------------------------------------------------------------- -- This message determines the display value of the talk page link produced -- with the ${TALKPAGE} parameter. -- It is possible to use banner parameters in this message. ['talk-page-link-display'] = 'talk page', -------------------------------------------------------------------------------- -- Edit requests -------------------------------------------------------------------------------- -- This message determines the display value of the edit request link produced -- with the ${EDITREQUEST} parameter. -- It is possible to use banner parameters in this message. ['edit-request-display'] = 'submit an edit request', -------------------------------------------------------------------------------- -- Expiry date format -------------------------------------------------------------------------------- -- This is the format for the blurb expiry date. It should be valid input for -- the first parameter of the #time parser function. ['expiry-date-format'] = 'F j, Y "at" H:i e', -------------------------------------------------------------------------------- -- Tracking categories -------------------------------------------------------------------------------- -- These messages determine which tracking categories the module outputs. ['tracking-category-incorrect'] = 'Wikipedia pages with incorrect protection templates', ['tracking-category-template'] = 'Wikipedia template-protected pages other than templates and modules', -------------------------------------------------------------------------------- -- Images -------------------------------------------------------------------------------- -- These are images that are not defined by their protection action and protection level. ['image-filename-indef'] = 'Full-protection-shackle.svg', ['image-filename-default'] = 'Transparent.gif', -------------------------------------------------------------------------------- -- End messages -------------------------------------------------------------------------------- } -------------------------------------------------------------------------------- -- End configuration -------------------------------------------------------------------------------- } a20552ae38cb5253a4fa29aa126abc74215a589f 0 1 853 833 2023-05-08T12:47:36Z Matrim112830 2 wikitext text/x-wiki __NOTOC__ [[File:Future Is So Queer in Ukraine.jpg|thumb|Future Is So Queer in Ukraine]] == Welcome to {{SITENAME}}! == This wiki aspires to become a larger collaborative project for archiving queer rhetorics and other concepts, events, art, and people that may not be archived elsewhere. Its major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. It started as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU. === Philosophy === Queer Wiki exists as a space for archiving that does not have the same restrictions that Wikipedia has. One of Wikipedia's core content policies is NPOV, the "neutral" point of view. From Wikipedia <blockquote>"All encyclopedic content on Wikipedia must be written from a neutral point of view (NPOV), which means representing fairly, proportionately, and, as far as possible, without editorial bias, all the significant views that have been published by reliable sources on a topic. NPOV is a fundamental principle of Wikipedia and of other Wikimedia projects. It is also one of Wikipedia's three core content policies; the other two are "Verifiability" and "No original research". These policies jointly determine the type and quality of material acceptable in Wikipedia articles, and because they work in harmony, they should not be interpreted in isolation from one another. Editors are strongly encouraged to familiarize themselves with all three. This policy is non-negotiable, and the principles upon which it is based cannot be superseded by other policies or guidelines, nor by editor consensus." <ref>https://en.wikipedia.org/wiki/Wikipedia:Neutral_point_of_view</ref> </blockquote> QWiki not only questions the possibility of the neutral state, but asserts a QPOV. It asserts no need for "verification" per se, and invites original thought and inquiry. === All Pages === [[Special:AllPages]] === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, and thank you for visiting this wiki. We are still in the process of developing pages, but feel free to browse or contribute.[[disidentification]] == References == <references/> 2d48a0ea8d4731ab3fb3ebab547a8c8787a4620b 854 853 2023-05-08T12:47:59Z Matrim112830 2 wikitext text/x-wiki __NOTOC__ [[File:Future Is So Queer in Ukraine.jpg|thumb|Future Is So Queer in Ukraine]] == Welcome to {{SITENAME}}! == This wiki aspires to become a larger collaborative project for archiving queer rhetorics and other queer concepts, events, art, and people that may not be archived elsewhere. Its major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. It started as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU. === Philosophy === Queer Wiki exists as a space for archiving that does not have the same restrictions that Wikipedia has. One of Wikipedia's core content policies is NPOV, the "neutral" point of view. From Wikipedia <blockquote>"All encyclopedic content on Wikipedia must be written from a neutral point of view (NPOV), which means representing fairly, proportionately, and, as far as possible, without editorial bias, all the significant views that have been published by reliable sources on a topic. NPOV is a fundamental principle of Wikipedia and of other Wikimedia projects. It is also one of Wikipedia's three core content policies; the other two are "Verifiability" and "No original research". These policies jointly determine the type and quality of material acceptable in Wikipedia articles, and because they work in harmony, they should not be interpreted in isolation from one another. Editors are strongly encouraged to familiarize themselves with all three. This policy is non-negotiable, and the principles upon which it is based cannot be superseded by other policies or guidelines, nor by editor consensus." <ref>https://en.wikipedia.org/wiki/Wikipedia:Neutral_point_of_view</ref> </blockquote> QWiki not only questions the possibility of the neutral state, but asserts a QPOV. It asserts no need for "verification" per se, and invites original thought and inquiry. === All Pages === [[Special:AllPages]] === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, and thank you for visiting this wiki. We are still in the process of developing pages, but feel free to browse or contribute.[[disidentification]] == References == <references/> fe9d5180f6e699986b338cd6254d0f16edea03f4 828 135 994 2023-05-28T13:26:56Z wikipedia>Uzume 0 strict Scribunto text/plain require('strict') local p = {} local navbar = require('Module:Navbar')._navbar local cfg = mw.loadData('Module:Navbox/configuration') local getArgs -- lazily initialized local args local format = string.format local function striped(wikitext, border) -- Return wikitext with markers replaced for odd/even striping. -- Child (subgroup) navboxes are flagged with a category that is removed -- by parent navboxes. The result is that the category shows all pages -- where a child navbox is not contained in a parent navbox. local orphanCat = cfg.category.orphan if border == cfg.keyword.border_subgroup and args[cfg.arg.orphan] ~= cfg.keyword.orphan_yes then -- No change; striping occurs in outermost navbox. return wikitext .. orphanCat end local first, second = cfg.class.navbox_odd_part, cfg.class.navbox_even_part if args[cfg.arg.evenodd] then if args[cfg.arg.evenodd] == cfg.keyword.evenodd_swap then first, second = second, first else first = args[cfg.arg.evenodd] second = first end end local changer if first == second then changer = first else local index = 0 changer = function (code) if code == '0' then -- Current occurrence is for a group before a nested table. -- Set it to first as a valid although pointless class. -- The next occurrence will be the first row after a title -- in a subgroup and will also be first. index = 0 return first end index = index + 1 return index % 2 == 1 and first or second end end local regex = orphanCat:gsub('([%[%]])', '%%%1') return (wikitext:gsub(regex, ''):gsub(cfg.marker.regex, changer)) -- () omits gsub count end local function processItem(item, nowrapitems) if item:sub(1, 2) == '{|' then -- Applying nowrap to lines in a table does not make sense. -- Add newlines to compensate for trim of x in |parm=x in a template. return '\n' .. item ..'\n' end if nowrapitems == cfg.keyword.nowrapitems_yes then local lines = {} for line in (item .. '\n'):gmatch('([^\n]*)\n') do local prefix, content = line:match('^([*:;#]+)%s*(.*)') if prefix and not content:match(cfg.pattern.nowrap) then line = format(cfg.nowrap_item, prefix, content) end table.insert(lines, line) end item = table.concat(lines, '\n') end if item:match('^[*:;#]') then return '\n' .. item ..'\n' end return item end local function has_navbar() return args[cfg.arg.navbar] ~= cfg.keyword.navbar_off and args[cfg.arg.navbar] ~= cfg.keyword.navbar_plain and ( args[cfg.arg.name] or mw.getCurrentFrame():getParent():getTitle():gsub(cfg.pattern.sandbox, '') ~= cfg.pattern.navbox ) end local function renderNavBar(titleCell) if has_navbar() then titleCell:wikitext(navbar{ [cfg.navbar.name] = args[cfg.arg.name], [cfg.navbar.mini] = 1, [cfg.navbar.fontstyle] = (args[cfg.arg.basestyle] or '') .. ';' .. (args[cfg.arg.titlestyle] or '') .. ';background:none transparent;border:none;box-shadow:none;padding:0;' }) end end local function renderTitleRow(tbl) if not args[cfg.arg.title] then return end local titleRow = tbl:tag('tr') local titleCell = titleRow:tag('th'):attr('scope', 'col') local titleColspan = 2 if args[cfg.arg.imageleft] then titleColspan = titleColspan + 1 end if args[cfg.arg.image] then titleColspan = titleColspan + 1 end titleCell :cssText(args[cfg.arg.basestyle]) :cssText(args[cfg.arg.titlestyle]) :addClass(cfg.class.navbox_title) :attr('colspan', titleColspan) renderNavBar(titleCell) titleCell :tag('div') -- id for aria-labelledby attribute :attr('id', mw.uri.anchorEncode(args[cfg.arg.title])) :addClass(args[cfg.arg.titleclass]) :css('font-size', '114%') :css('margin', '0 4em') :wikitext(processItem(args[cfg.arg.title])) end local function getAboveBelowColspan() local ret = 2 if args[cfg.arg.imageleft] then ret = ret + 1 end if args[cfg.arg.image] then ret = ret + 1 end return ret end local function renderAboveRow(tbl) if not args[cfg.arg.above] then return end tbl:tag('tr') :tag('td') :addClass(cfg.class.navbox_abovebelow) :addClass(args[cfg.arg.aboveclass]) :cssText(args[cfg.arg.basestyle]) :cssText(args[cfg.arg.abovestyle]) :attr('colspan', getAboveBelowColspan()) :tag('div') -- id for aria-labelledby attribute, if no title :attr('id', (not args[cfg.arg.title]) and mw.uri.anchorEncode(args[cfg.arg.above]) or nil) :wikitext(processItem(args[cfg.arg.above], args[cfg.arg.nowrapitems])) end local function renderBelowRow(tbl) if not args[cfg.arg.below] then return end tbl:tag('tr') :tag('td') :addClass(cfg.class.navbox_abovebelow) :addClass(args[cfg.arg.belowclass]) :cssText(args[cfg.arg.basestyle]) :cssText(args[cfg.arg.belowstyle]) :attr('colspan', getAboveBelowColspan()) :tag('div') :wikitext(processItem(args[cfg.arg.below], args[cfg.arg.nowrapitems])) end local function renderListRow(tbl, index, listnum, listnums_size) local row = tbl:tag('tr') if index == 1 and args[cfg.arg.imageleft] then row :tag('td') :addClass(cfg.class.noviewer) :addClass(cfg.class.navbox_image) :addClass(args[cfg.arg.imageclass]) :css('width', '1px') -- Minimize width :css('padding', '0 2px 0 0') :cssText(args[cfg.arg.imageleftstyle]) :attr('rowspan', listnums_size) :tag('div') :wikitext(processItem(args[cfg.arg.imageleft])) end local group_and_num = format(cfg.arg.group_and_num, listnum) local groupstyle_and_num = format(cfg.arg.groupstyle_and_num, listnum) if args[group_and_num] then local groupCell = row:tag('th') -- id for aria-labelledby attribute, if lone group with no title or above if listnum == 1 and not (args[cfg.arg.title] or args[cfg.arg.above] or args[cfg.arg.group2]) then groupCell :attr('id', mw.uri.anchorEncode(args[cfg.arg.group1])) end groupCell :attr('scope', 'row') :addClass(cfg.class.navbox_group) :addClass(args[cfg.arg.groupclass]) :cssText(args[cfg.arg.basestyle]) -- If groupwidth not specified, minimize width :css('width', args[cfg.arg.groupwidth] or '1%') groupCell :cssText(args[cfg.arg.groupstyle]) :cssText(args[groupstyle_and_num]) :wikitext(args[group_and_num]) end local listCell = row:tag('td') if args[group_and_num] then listCell :addClass(cfg.class.navbox_list_with_group) else listCell:attr('colspan', 2) end if not args[cfg.arg.groupwidth] then listCell:css('width', '100%') end local rowstyle -- usually nil so cssText(rowstyle) usually adds nothing if index % 2 == 1 then rowstyle = args[cfg.arg.oddstyle] else rowstyle = args[cfg.arg.evenstyle] end local list_and_num = format(cfg.arg.list_and_num, listnum) local listText = args[list_and_num] local oddEven = cfg.marker.oddeven if listText:sub(1, 12) == '</div><table' then -- Assume list text is for a subgroup navbox so no automatic striping for this row. oddEven = listText:find(cfg.pattern.navbox_title) and cfg.marker.restart or cfg.class.navbox_odd_part end local liststyle_and_num = format(cfg.arg.liststyle_and_num, listnum) local listclass_and_num = format(cfg.arg.listclass_and_num, listnum) listCell :css('padding', '0') :cssText(args[cfg.arg.liststyle]) :cssText(rowstyle) :cssText(args[liststyle_and_num]) :addClass(cfg.class.navbox_list) :addClass(cfg.class.navbox_part .. oddEven) :addClass(args[cfg.arg.listclass]) :addClass(args[listclass_and_num]) :tag('div') :css('padding', (index == 1 and args[cfg.arg.list1padding]) or args[cfg.arg.listpadding] or '0 0.25em' ) :wikitext(processItem(listText, args[cfg.arg.nowrapitems])) if index == 1 and args[cfg.arg.image] then row :tag('td') :addClass(cfg.class.noviewer) :addClass(cfg.class.navbox_image) :addClass(args[cfg.arg.imageclass]) :css('width', '1px') -- Minimize width :css('padding', '0 0 0 2px') :cssText(args[cfg.arg.imagestyle]) :attr('rowspan', listnums_size) :tag('div') :wikitext(processItem(args[cfg.arg.image])) end end local function has_list_class(htmlclass) local patterns = { '^' .. htmlclass .. '$', '%s' .. htmlclass .. '$', '^' .. htmlclass .. '%s', '%s' .. htmlclass .. '%s' } for arg, _ in pairs(args) do if type(arg) == 'string' and mw.ustring.find(arg, cfg.pattern.class) then for _, pattern in ipairs(patterns) do if mw.ustring.find(args[arg] or '', pattern) then return true end end end end return false end -- there are a lot of list classes in the wild, so we add their TemplateStyles local function add_list_styles() local frame = mw.getCurrentFrame() local function add_list_templatestyles(htmlclass, templatestyles) if has_list_class(htmlclass) then return frame:extensionTag{ name = 'templatestyles', args = { src = templatestyles } } else return '' end end local hlist_styles = add_list_templatestyles('hlist', cfg.hlist_templatestyles) local plainlist_styles = add_list_templatestyles('plainlist', cfg.plainlist_templatestyles) -- a second workaround for [[phab:T303378]] -- when that issue is fixed, we can actually use has_navbar not to emit the -- tag here if we want if has_navbar() and hlist_styles == '' then hlist_styles = frame:extensionTag{ name = 'templatestyles', args = { src = cfg.hlist_templatestyles } } end -- hlist -> plainlist is best-effort to preserve old Common.css ordering. -- this ordering is not a guarantee because most navboxes will emit only -- one of these classes [hlist_note] return hlist_styles .. plainlist_styles end local function needsHorizontalLists(border) if border == cfg.keyword.border_subgroup or args[cfg.arg.tracking] == cfg.keyword.tracking_no then return false end return not has_list_class(cfg.pattern.hlist) and not has_list_class(cfg.pattern.plainlist) end local function hasBackgroundColors() for _, key in ipairs({cfg.arg.titlestyle, cfg.arg.groupstyle, cfg.arg.basestyle, cfg.arg.abovestyle, cfg.arg.belowstyle}) do if tostring(args[key]):find('background', 1, true) then return true end end return false end local function hasBorders() for _, key in ipairs({cfg.arg.groupstyle, cfg.arg.basestyle, cfg.arg.abovestyle, cfg.arg.belowstyle}) do if tostring(args[key]):find('border', 1, true) then return true end end return false end local function isIllegible() local styleratio = require('Module:Color contrast')._styleratio for key, style in pairs(args) do if tostring(key):match(cfg.pattern.style) then if styleratio{mw.text.unstripNoWiki(style)} < 4.5 then return true end end end return false end local function getTrackingCategories(border) local cats = {} if needsHorizontalLists(border) then table.insert(cats, cfg.category.horizontal_lists) end if hasBackgroundColors() then table.insert(cats, cfg.category.background_colors) end if isIllegible() then table.insert(cats, cfg.category.illegible) end if hasBorders() then table.insert(cats, cfg.category.borders) end return cats end local function renderTrackingCategories(builder, border) local title = mw.title.getCurrentTitle() if title.namespace ~= 10 then return end -- not in template space local subpage = title.subpageText if subpage == cfg.keyword.subpage_doc or subpage == cfg.keyword.subpage_sandbox or subpage == cfg.keyword.subpage_testcases then return end for _, cat in ipairs(getTrackingCategories(border)) do builder:wikitext('[[Category:' .. cat .. ']]') end end local function renderMainTable(border, listnums) local tbl = mw.html.create('table') :addClass(cfg.class.nowraplinks) :addClass(args[cfg.arg.bodyclass]) local state = args[cfg.arg.state] if args[cfg.arg.title] and state ~= cfg.keyword.state_plain and state ~= cfg.keyword.state_off then if state == cfg.keyword.state_collapsed then state = cfg.class.collapsed end tbl :addClass(cfg.class.collapsible) :addClass(state or cfg.class.autocollapse) end tbl:css('border-spacing', 0) if border == cfg.keyword.border_subgroup or border == cfg.keyword.border_none then tbl :addClass(cfg.class.navbox_subgroup) :cssText(args[cfg.arg.bodystyle]) :cssText(args[cfg.arg.style]) else -- regular navbox - bodystyle and style will be applied to the wrapper table tbl :addClass(cfg.class.navbox_inner) :css('background', 'transparent') :css('color', 'inherit') end tbl:cssText(args[cfg.arg.innerstyle]) renderTitleRow(tbl) renderAboveRow(tbl) local listnums_size = #listnums for i, listnum in ipairs(listnums) do renderListRow(tbl, i, listnum, listnums_size) end renderBelowRow(tbl) return tbl end local function add_navbox_styles(hiding_templatestyles) local frame = mw.getCurrentFrame() -- This is a lambda so that it doesn't need the frame as a parameter local function add_user_styles(templatestyles) if templatestyles and templatestyles ~= '' then return frame:extensionTag{ name = 'templatestyles', args = { src = templatestyles } } end return '' end -- get templatestyles. load base from config so that Lua only needs to do -- the work once of parser tag expansion local base_templatestyles = cfg.templatestyles local templatestyles = add_user_styles(args[cfg.arg.templatestyles]) local child_templatestyles = add_user_styles(args[cfg.arg.child_templatestyles]) -- The 'navbox-styles' div exists to wrap the styles to work around T200206 -- more elegantly. Instead of combinatorial rules, this ends up being linear -- number of CSS rules. return mw.html.create('div') :addClass(cfg.class.navbox_styles) :wikitext( add_list_styles() .. -- see [hlist_note] applied to 'before base_templatestyles' base_templatestyles .. templatestyles .. child_templatestyles .. table.concat(hiding_templatestyles) ) :done() end -- work around [[phab:T303378]] -- for each arg: find all the templatestyles strip markers, insert them into a -- table. then remove all templatestyles markers from the arg local function move_hiding_templatestyles(args) local gfind = string.gfind local gsub = string.gsub local templatestyles_markers = {} local strip_marker_pattern = '(\127[^\127]*UNIQ%-%-templatestyles%-%x+%-QINU[^\127]*\127)' for k, arg in pairs(args) do for marker in gfind(arg, strip_marker_pattern) do table.insert(templatestyles_markers, marker) end args[k] = gsub(arg, strip_marker_pattern, '') end return templatestyles_markers end function p._navbox(navboxArgs) args = navboxArgs local hiding_templatestyles = move_hiding_templatestyles(args) local listnums = {} for k, _ in pairs(args) do if type(k) == 'string' then local listnum = k:match(cfg.pattern.listnum) if listnum then table.insert(listnums, tonumber(listnum)) end end end table.sort(listnums) local border = mw.text.trim(args[cfg.arg.border] or args[1] or '') if border == cfg.keyword.border_child then border = cfg.keyword.border_subgroup end -- render the main body of the navbox local tbl = renderMainTable(border, listnums) local res = mw.html.create() -- render the appropriate wrapper for the navbox, based on the border param if border == cfg.keyword.border_none then res:node(add_navbox_styles(hiding_templatestyles)) local nav = res:tag('div') :attr('role', 'navigation') :node(tbl) -- aria-labelledby title, otherwise above, otherwise lone group if args[cfg.arg.title] or args[cfg.arg.above] or (args[cfg.arg.group1] and not args[cfg.arg.group2]) then nav:attr( 'aria-labelledby', mw.uri.anchorEncode( args[cfg.arg.title] or args[cfg.arg.above] or args[cfg.arg.group1] ) ) else nav:attr('aria-label', cfg.aria_label) end elseif border == cfg.keyword.border_subgroup then -- We assume that this navbox is being rendered in a list cell of a -- parent navbox, and is therefore inside a div with padding:0em 0.25em. -- We start with a </div> to avoid the padding being applied, and at the -- end add a <div> to balance out the parent's </div> res :wikitext('</div>') :node(tbl) :wikitext('<div>') else res:node(add_navbox_styles(hiding_templatestyles)) local nav = res:tag('div') :attr('role', 'navigation') :addClass(cfg.class.navbox) :addClass(args[cfg.arg.navboxclass]) :cssText(args[cfg.arg.bodystyle]) :cssText(args[cfg.arg.style]) :css('padding', '3px') :node(tbl) -- aria-labelledby title, otherwise above, otherwise lone group if args[cfg.arg.title] or args[cfg.arg.above] or (args[cfg.arg.group1] and not args[cfg.arg.group2]) then nav:attr( 'aria-labelledby', mw.uri.anchorEncode(args[cfg.arg.title] or args[cfg.arg.above] or args[cfg.arg.group1]) ) else nav:attr('aria-label', cfg.aria_label) end end if (args[cfg.arg.nocat] or cfg.keyword.nocat_false):lower() == cfg.keyword.nocat_false then renderTrackingCategories(res, border) end return striped(tostring(res), border) end function p.navbox(frame) if not getArgs then getArgs = require('Module:Arguments').getArgs end args = getArgs(frame, {wrappers = {cfg.pattern.navbox}}) -- Read the arguments in the order they'll be output in, to make references -- number in the right order. local _ _ = args[cfg.arg.title] _ = args[cfg.arg.above] -- Limit this to 20 as covering 'most' cases (that's a SWAG) and because -- iterator approach won't work here for i = 1, 20 do _ = args[format(cfg.arg.group_and_num, i)] _ = args[format(cfg.arg.list_and_num, i)] end _ = args[cfg.arg.below] return p._navbox(args) end return p 05be9a97c035ab3f0fac69423779e261949d473c 10 168 1050 2023-05-30T09:39:48Z wikipedia>Lectonar 0 Changed protection settings for "[[Template:High-use]]": [[WP:High-risk templates|High-risk template or module]] ([Edit=Require template editor access] (indefinite) [Move=Require template editor access] (indefinite)) wikitext text/x-wiki {{#invoke:High-use|main|1={{{1|}}}|2={{{2|}}}|info={{{info|}}}|demo={{{demo|}}}|form={{{form|}}}|expiry={{{expiry|}}}|system={{{system|}}}}}<noinclude> {{Documentation}} <!-- Add categories to the /doc subpage; interwiki links go to Wikidata, thank you! --> </noinclude> a3322d1bd47ac03df14fa2090855cff4fede9bc7 828 172 1056 2023-05-30T11:20:32Z wikipedia>Lectonar 0 Changed protection settings for "[[Module:High-use]]": [[WP:High-risk templates|High-risk template or module]] ([Edit=Require template editor access] (indefinite) [Move=Require template editor access] (indefinite)) Scribunto text/plain local p = {} -- _fetch looks at the "demo" argument. local _fetch = require('Module:Transclusion_count').fetch local yesno = require('Module:Yesno') function p.num(frame, count) if count == nil then if yesno(frame.args['fetch']) == false then if (frame.args[1] or '') ~= '' then count = tonumber(frame.args[1]) end else count = _fetch(frame) end end -- Build output string local return_value = "" if count == nil then if frame.args[1] == "risk" then return_value = "a very large number of" else return_value = "many" end else -- Use 2 significant figures for smaller numbers and 3 for larger ones local sigfig = 2 if count >= 100000 then sigfig = 3 end -- Prepare to round to appropriate number of sigfigs local f = math.floor(math.log10(count)) - sigfig + 1 -- Round and insert "approximately" or "+" when appropriate if (frame.args[2] == "yes") or (mw.ustring.sub(frame.args[1],-1) == "+") then -- Round down return_value = string.format("%s+", mw.getContentLanguage():formatNum(math.floor( (count / 10^(f)) ) * (10^(f))) ) else -- Round to nearest return_value = string.format("approximately&#x20;%s", mw.getContentLanguage():formatNum(math.floor( (count / 10^(f)) + 0.5) * (10^(f))) ) end -- Insert percentage of pages if that is likely to be >= 1% and when |no-percent= not set to yes if count and count > 250000 and not yesno (frame:getParent().args['no-percent']) then local percent = math.floor( ( (count/frame:callParserFunction('NUMBEROFPAGES', 'R') ) * 100) + 0.5) if percent >= 1 then return_value = string.format("%s&#x20;pages, or roughly %s%% of all", return_value, percent) end end end return return_value end -- Actions if there is a large (greater than or equal to 100,000) transclusion count function p.risk(frame) local return_value = "" if frame.args[1] == "risk" then return_value = "risk" else local count = _fetch(frame) if count and count >= 100000 then return_value = "risk" end end return return_value end function p.text(frame, count) -- Only show the information about how this template gets updated if someone -- is actually editing the page and maybe trying to update the count. local bot_text = (frame:preprocess("{{REVISIONID}}") == "") and "\n\n----\n'''Preview message''': Transclusion count updated automatically ([[Template:High-use/doc#Technical details|see documentation]])." or '' if count == nil then if yesno(frame.args['fetch']) == false then if (frame.args[1] or '') ~= '' then count = tonumber(frame.args[1]) end else count = _fetch(frame) end end local title = mw.title.getCurrentTitle() if title.subpageText == "doc" or title.subpageText == "sandbox" then title = title.basePageTitle end local systemMessages = frame.args['system'] if frame.args['system'] == '' then systemMessages = nil end -- This retrieves the project URL automatically to simplify localiation. local templateCount = ('on [https://linkcount.toolforge.org/index.php?project=%s&page=%s %s pages]'):format( mw.title.getCurrentTitle():fullUrl():gsub('//(.-)/.*', '%1'), mw.uri.encode(title.fullText), p.num(frame, count)) local used_on_text = "'''This " .. (mw.title.getCurrentTitle().namespace == 828 and "Lua module" or "template") .. ' is used '; if systemMessages then used_on_text = used_on_text .. systemMessages .. ((count and count > 2000) and ("''', and " .. templateCount) or ("'''")) else used_on_text = used_on_text .. templateCount .. "'''" end local sandbox_text = ("%s's [[%s/sandbox|/sandbox]] or [[%s/testcases|/testcases]] subpages, or in your own [[%s]]. "):format( (mw.title.getCurrentTitle().namespace == 828 and "module" or "template"), title.fullText, title.fullText, mw.title.getCurrentTitle().namespace == 828 and "Module:Sandbox|module sandbox" or "Wikipedia:User pages#SUB|user subpage" ) local infoArg = frame.args["info"] ~= "" and frame.args["info"] if (systemMessages or frame.args[1] == "risk" or (count and count >= 100000) ) then local info = systemMessages and '.<br/>Changes to it can cause immediate changes to the Wikipedia user interface.' or '.' if infoArg then info = info .. "<br />" .. infoArg end sandbox_text = info .. '<br /> To avoid major disruption' .. (count and count >= 100000 and ' and server load' or '') .. ', any changes should be tested in the ' .. sandbox_text .. 'The tested changes can be added to this page in a single edit. ' else sandbox_text = (infoArg and ('.<br />' .. infoArg .. ' C') or ' and c') .. 'hanges may be widely noticed. Test changes in the ' .. sandbox_text end local discussion_text = systemMessages and 'Please discuss changes ' or 'Consider discussing changes ' if frame.args["2"] and frame.args["2"] ~= "" and frame.args["2"] ~= "yes" then discussion_text = string.format("%sat [[%s]]", discussion_text, frame.args["2"]) else discussion_text = string.format("%son the [[%s|talk page]]", discussion_text, title.talkPageTitle.fullText ) end return used_on_text .. sandbox_text .. discussion_text .. " before implementing them." .. bot_text end function p.main(frame) local count = nil if yesno(frame.args['fetch']) == false then if (frame.args[1] or '') ~= '' then count = tonumber(frame.args[1]) end else count = _fetch(frame) end local image = "[[File:Ambox warning yellow.svg|40px|alt=Warning|link=]]" local type_param = "style" local epilogue = '' if frame.args['system'] and frame.args['system'] ~= '' then image = "[[File:Ambox important.svg|40px|alt=Warning|link=]]" type_param = "content" local nocat = frame:getParent().args['nocat'] or frame.args['nocat'] local categorise = (nocat == '' or not yesno(nocat)) if categorise then epilogue = frame:preprocess('{{Sandbox other||{{#switch:{{#invoke:Effective protection level|{{#switch:{{NAMESPACE}}|File=upload|#default=edit}}|{{FULLPAGENAME}}}}|sysop|templateeditor|interfaceadmin=|#default=[[Category:Pages used in system messages needing protection]]}}}}') end elseif (frame.args[1] == "risk" or (count and count >= 100000)) then image = "[[File:Ambox warning orange.svg|40px|alt=Warning|link=]]" type_param = "content" end if frame.args["form"] == "editnotice" then return frame:expandTemplate{ title = 'editnotice', args = { ["image"] = image, ["text"] = p.text(frame, count), ["expiry"] = (frame.args["expiry"] or "") } } .. epilogue else return require('Module:Message box').main('ombox', { type = type_param, image = image, text = p.text(frame, count), expiry = (frame.args["expiry"] or "") }) .. epilogue end end return p 134551888e066954a89c109d2faa8af71a4454a4 828 173 1058 2023-05-30T20:51:38Z wikipedia>Isabelle Belato 0 Changed protection settings for "[[Module:Transclusion count]]": [[WP:High-risk templates|Highly visible template]]; requested at [[WP:RfPP]] ([Edit=Require template editor access] (indefinite) [Move=Require template editor access] (indefinite)) Scribunto text/plain local p = {} function p.fetch(frame) local template = nil local return_value = nil -- Use demo parameter if it exists, otherswise use current template name local namespace = mw.title.getCurrentTitle().namespace if frame.args["demo"] and frame.args["demo"] ~= "" then template = mw.ustring.gsub(frame.args["demo"],"^[Tt]emplate:","") elseif namespace == 10 then -- Template namespace template = mw.title.getCurrentTitle().text elseif namespace == 828 then -- Module namespace template = (mw.site.namespaces[828].name .. ":" .. mw.title.getCurrentTitle().text) end -- If in template or module namespace, look up count in /data if template ~= nil then namespace = mw.title.new(template, "Template").namespace if namespace == 10 or namespace == 828 then template = mw.ustring.gsub(template, "/doc$", "") -- strip /doc from end template = mw.ustring.gsub(template, "/sandbox$", "") -- strip /sandbox from end local index = mw.ustring.sub(mw.title.new(template).text,1,1) local status, data = pcall(function () return(mw.loadData('Module:Transclusion_count/data/' .. (mw.ustring.find(index, "%a") and index or "other"))) end) if status then return_value = tonumber(data[mw.ustring.gsub(template, " ", "_")]) end end end -- If database value doesn't exist, use value passed to template if return_value == nil and frame.args[1] ~= nil then local arg1=mw.ustring.match(frame.args[1], '[%d,]+') if arg1 and arg1 ~= '' then return_value = tonumber(frame:callParserFunction('formatnum', arg1, 'R')) end end return return_value end -- Tabulate this data for [[Wikipedia:Database reports/Templates transcluded on the most pages]] function p.tabulate(frame) local list = {} for i = 65, 91 do local data = mw.loadData('Module:Transclusion count/data/' .. ((i == 91) and 'other' or string.char(i))) for name, count in pairs(data) do table.insert(list, {mw.title.new(name, "Template").fullText, count}) end end table.sort(list, function(a, b) return (a[2] == b[2]) and (a[1] < b[1]) or (a[2] > b[2]) end) local lang = mw.getContentLanguage(); for i = 1, #list do list[i] = ('|-\n| %d || [[%s]] || %s\n'):format(i, list[i][1]:gsub('_', ' '), lang:formatNum(list[i][2])) end return table.concat(list) end return p 000ef6bcbf7b66e727870b0c300c4009da300513 10 212 1134 2023-05-30T21:19:09Z wikipedia>WOSlinker 0 syntaxhighlight lang="wikitext" wikitext text/x-wiki {{#switch:{{NAMESPACE}}:{{ROOTPAGENAME}} |Template:Note= {{Distinguish|Template:A note|Template:Memo{{!}}Template:Memo <small>(Template:NoteBox)</small>|Template:Notice}} }} {{Documentation subpage}} <!-- Add categories where indicated at the bottom of this page and interwikis at Wikidata --> {{Notice|image=Stop hand nuvola.svg|'''This is {{plain link|url=//en.wikipedia.org/w/index.php?title=Wikipedia:Footnote3&diff=41876751&oldid=41331534|name=no longer}} the recommended method of citing sources.''' If a note list separate from the list of references is desired, {{tl|refn}} and {{tl|efn}} may be used.<br /> For information on how to place and format citations, see [[Wikipedia:Citing sources]].<br /> An explanation on how to create 'numbered footnotes' is at [[Help:Footnotes]].}} {{Uses TemplateStyles|Template:Citation/styles.css}} This documentation is for the {{tl|ref}}, {{tl|note}}, {{tl|ref label}} and {{tl|note label}} templates. The ''note'' templates place notes into an article, and the ''ref'' templates place labeled references to the notes, with the labels normally hyperlinks for navigating from a ref to a corresponding note and back from the note to the ref. The ''label'' pair of templates are similar to the pair without the ''label'' name, but with more features. The links and backlinks are identified internally by combining the specified parameters. The templates accepts a number of unnamed parameters identified by their position. It also accepts a named parameter (named ''noid'') which is deprecated since its introduction. The first parameter of {{tl|ref}} is a label that has to be used for the parameter of the corresponding {{tl|note}}. The label is used to form the fragment identifier for the footnote link and back link. The second parameter of {{tlf|ref}} is the footnote reference marker, shown as a superscript. The easiest choice is to make these two the same, but this is not a requirement. If the second parameter is not supplied, the marker is a superscripted external link of the form [''n'']. ==Syntax== The following illustrates the general syntax of each template: * {{tlp|code=on|ref|''id''|''label''|noid{{=}}noid}} * {{tlp|code=on|note|''id''|''label''|''text''}} * {{tlp|code=on|ref label|''id''|''label''|''backlink''|noid{{=}}noid}} * {{tlp|code=on|note label|''id''|''label''|''backlink''|''text''}} Description of each parameter is as follows: ===''id''=== Identifier for a note and its back link (mandatory). This is the only mandatory parameter for a {{tld|ref}} and {{tld|note}} couple, which can be used to add simple footnotes. '''Important note:''' Every pair of {{tld|ref}} and {{tld|note}}, as well as every pair of {{tld|ref label}} and {{tld|note label}}, should have unique identifiers. This applies even if multiple references pointing to the same footnote are desired. ('''Correct method of implementing this feature – using the ''label'' parameter – is illustrated further below.''') Duplicate identifiers generate invalid code, to which web browsers react differently. Some browsers report errors, while others may randomly keep one ''id'' and discard others silently. In all cases, however, navigation between some footnote marks and their body texts does not work as desired. See [[Help:Markup validation]]. {| class=wikitable |+ Example of ''id'' !Code !Result |- |<syntaxhighlight lang="wikitext"> Text that requires a footnote.{{ref|a}} ==Notes== :1.{{note|a}}Body of the footnote. </syntaxhighlight> |Text that requires a footnote.{{ref|a}} {{Fake heading|Notes}} :1.{{note|a}}Body of the footnote. |} ===''label''=== Label text displayed where these templates are inserted (mandatory for {{tld|ref label}} and {{tld|note label}}). The following explains template specific behavior: *In {{tld|ref}}, {{tld|ref label}} and {{tld|note label}}, the label appears in [[superscript]]; in {{tld|note}}, the label appears as standard-sized baseline bold text. *In {{tld|ref}}, {{tld|ref label}} and {{tld|note}}, the label is also hyperlinked and helps navigating back and forth between the inline footnote marker (in the prose) and its body text. {{tld|note label}}, however, does not attach a hyperlink to the label but disregards this parameter when the ''backlink'' parameter (explained later) is present. *In {{tld|ref label}}, the label is always enclosed in brackets. {| class=wikitable |+ Example of ''label'' !Code !Result |- |<syntaxhighlight lang="wikitext"> Text alpha.{{ref|Alpha|α}} Text beta.{{ref label|Beta|β}} ==Notes== :{{note|Alpha|α}} Information on alpha :{{note label|Beta|β}} Information on beta </syntaxhighlight> | Text alpha.{{ref|Alpha|α}} Text beta.{{ref label|Beta|β}} {{Fake heading|Notes}} :{{note|Alpha|α}} Information on alpha :{{note label|Beta|β}} Information on beta |} This parameter is optional in {{tld|ref}} and {{tld|note}}, therefore: *{{tld|ref}} displays a unique number in square brackets if this parameter is omitted. (See example above.) *{{tld|note}} appends this label to a back linked [[caret]] (^), so if omitted, only a caret is displayed. (See example above.) There is no mandate to include this parameter in both ref and note portion at the same time. In fact, there may be the need to do the opposite. This example shows how to use {{tld|ref}} and {{tld|note}} to link multiple footnote markers of the same appearance to the same footnote. {| class=wikitable style="width:100%;" |+ Example of ''label'': Many to one connection ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> ... The reunification project started in 1959 and concluded in 1961. The outcome of the project was instrumental in the company's success.{{ref|Lewinsky1|A}} ... ... The consolidation efforts in 1992 had a huge impact on the company's success.{{ref|Lewinsky2|A}} ... ... The final development stage set the cornerstone for company's future activities.{{ref|LewinskyFinal|A}}... ==Notes== :A.{{note|Lewinsky1}}{{note|Lewinsky2}}{{note|LewinskyFinal}}See Brown, Lewinsky and Hart, 2009. </syntaxhighlight> |... The reunification project started in 1959 and concluded in 1961. The outcome of the project was instrumental in the company's success.{{ref|Lewinsky1|A}} ... ... The consolidation efforts in 1992 had a huge impact on the company's success.{{ref|Lewinsky2|A}} ... ... The final development stage set the cornerstone for company's future activities.{{ref|LewinskyFinal|A}}... {{Fake heading|Notes}} :A.{{note|Lewinsky1}}{{note|Lewinsky2}}{{note|LewinskyFinal}}See Brown, Lewinsky and Hart, 2009. |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> ... The reunification project started in 1959 and concluded in 1961. The outcome of the project was instrumental in the company's success.{{ref label|Brown1|B}} ... ... The consolidation efforts in 1992 had a huge impact on the company's success.{{ref label|Brown2|B}} ... ... The final development stage set the cornerstone for company's future activities.{{ref label|BrownLast|B}}... ==Notes== :B.{{note label|Brown1|^}}{{note label|Brown2|^}}{{note label|BrownLast|^}}See Brown, Lewinsky and Hart, 2009. </syntaxhighlight> |... The reunification project started in 1959 and concluded in 1961. The outcome of the project was instrumental in the company's success.{{ref label|Brown1|B}} ... ... The consolidation efforts in 1992 had a huge impact on the company's success.{{ref label|Brown2|B}} ... ... The final development stage set the cornerstone for company's future activities.{{ref label|BrownLast|B}}.. {{Fake heading|Notes}} :B.{{note label|Brown1|^}}{{note label|Brown2|^}}{{note label|BrownLast|^}}See Brown, Lewinsky and Hart, 2009. |} ===''backlink''=== As explained above, {{tld|note label}} does not generate a back link from ''label'' parameter. A unique parameter of {{tld|ref label}} – {{tld|note label}}, ''backlink'' is a complementary parameter that is part ''id'' and part ''label'': *"Complementary parameter" means a {{tld|ref label}} – {{tld|note label}} pair may either forgo this parameter or must both have it. *"Part ''id''" means in a {{tld|ref label}} – {{tld|note label}} pair, both ends must have the same ''backlink'' value. In addition, in any {{tld|ref label}} – {{tld|note label}} pair, the combination of ''id'' and ''backlink'' must be unique. *"Part ''label''" means in {{tld|note label}}, this parameter completely overrides ''label'' parameter. A {{tld|ref label}} with a ''backlink'' cannot connect to a {{tld|note}}. Likewise, a {{tld|note label}} with a ''backlink'' cannot connect to a {{tld|ref}}. Example: {| class=wikitable |+ Example of ''backlink'' ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> Some text.{{ref label|id5|5|1}} Some other text.{{ref label|id5|5|2}} ----- ... :5.{{note label|id5||1}}{{note label|id5||2}} Some important comment! </syntaxhighlight> | Some text.{{ref label|id5|5|1}} Some other text.{{ref label|id5|5|2}} ----- ... :5.{{note label|id5||1}}{{note label|id5||2}} Some important comment! |} This parameter (''backlink'') also accepts the special value "none" (without quotation marks), which causes a caret to appear where {{tld|note label}} is placed. {| class=wikitable |+ Example of ''backlink'' set to "none" ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> Body text.{{ref label|id4|Label 4|none}} :{{note label|id4||none}}Footnote text </syntaxhighlight> | Body text.{{ref label|id4|Label 4|none}} :{{note label|id4||none}}Footnote text |} ===''text''=== In all previous examples, the body text of a piece of footnote was inserted outside {{tld|note}} or {{tld|note label}} template. However, it is possible to insert the body text inside the template, in place of ''text'' parameter. Everything put inside ''text'' parameter glows when the user clicks on the footnote mark. In the example below, try clicking on ^S and ^T and see the difference. {| class=wikitable style="width:100%;" |+ Example of ''text'' ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> Some text.{{ref|noteS|S}} Some other text.{{ref|noteT|T}} ==Notes== :S.{{note|noteS}}Some footnote text :T.{{note|noteT||Some other footnote text}} </syntaxhighlight> |Some text.{{ref|noteS|S}} Some other text.{{ref|noteT|T}} {{Fake heading|notes}} :S.{{note|noteS}}Some footnote text :T.{{note|noteT||Some other footnote text}} |} Since the footnote body text starts without a delimiter after this string, there is a caveat: If the footnote body text starts with a lowercase letter, the first word may be attached to the back link. (For more info, see [[Help:Wikilinks]].) {| class=wikitable |+ Example of ''backlink'' bug ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> :{{ref label|id ref2a|Label 2a|Back}} :{{ref label|id ref2b|Label 2b|Back}} :{{note label|id ref2a|Label 2a|Back|Capitalized footnote}} :{{note label|id ref2b|Label 2b|Back|lower case footnote}} </syntaxhighlight> | :{{ref label|id ref2a|Label 2a|Back}} :{{ref label|id ref2b|Label 2b|Back}} :{{note label|id ref2a|Label 2a|Back|Capitalized footnote}} :{{note label|id ref2b|Label 2b|Back|lower case footnote}} |} ===noid=noid=== '''Deprecated parameter''' – Suppresses back linking from note component to ref. In case of {{tld|note}}, an active hyperlink still appears, although it is broken. This parameter was originally meant to alleviate the problem of connecting many ref tags with the same ID to one note tag with that ID. However, it only replaces one form of broken code with another. Consider using {{tld|note label}} instead, which does not generate any back link unless configured to do so. There must always be one and only one note template for every ref template with the same ''id''. ==Additional examples== {| class=wikitable |+ Additional examples ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> Article text{{ref label|reference_name_A|a|1}} more text{{ref label|reference_name_G|g|}} more text{{ref label|reference_name_B|b|2}} more text{{ref label|reference_name_C|c|3}} more text{{ref label|reference name_D|d|4}} more text{{ref label|reference name_E|e|none}} more text{{ref label|reference name_F|f|}} more text.{{ref label|reference_name_H|h|8}} * * intervening text * * {{note label|reference_name_A|a|1}}Text of note for ref a. * {{note label|reference_name_B|b|2}}Text of note for ref b. * {{note label|reference_name_C|c|3|ABCDE}}Text of note for ref c. * {{note label|reference_name_D|d|4|FGHIJ}}Text of note for ref d. * {{note label|reference_name_E|e|none}}Text of note for ref e. * {{note label|reference_name_F|f}}Text of note for ref f. * {{note label|reference_name_G|g||{{note label|reference_name_H|h|8|Text of note for refs g and h (with extended highlighting).}}}} </syntaxhighlight > | Article text{{ref label|reference_name_A|a|1}} more text{{ref label|reference_name_G|g|}} more text{{ref label|reference_name_B|b|2}} more text{{ref label|reference_name_C|c|3}} more text{{ref label|reference name_D|d|4}} more text{{ref label|reference name_E|e|none}} more text{{ref label|reference name_F|f|}} more text.{{ref label|reference_name_H|h|8}} * *intervening text * *{{note label|reference_name_A|a|1}}Text of note for ref a. *{{note label|reference_name_B|b|2}}Text of note for ref b. *{{note label|reference_name_C|c|3|ABCDE}}Text of note for ref c. *{{note label|reference_name_D|d|4|FGHIJ}}Text of note for ref d. *{{note label|reference_name_E|e|none}}Text of note for ref e. *{{note label|reference_name_F|f}}Text of note for ref f. *{{note label|reference_name_G|g||{{note label|reference_name_H|h|8|Text of note for refs g and h (with extended highlighting).}}}} |} ===Unique ID issue=== As explained earlier, the ''id'' parameter for every {{tld|ref}} – {{tld|note}} pair should be unique. The following example shows what happens when two refs use the same ''id''. Try navigating from bulleted text to footnotes and back. {| class=wikitable ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> Article text{{ref|reference_name_A|a}} more text{{ref|reference_name_B|b}} more text{{ref|reference_name_C|c}}. * Bulleted text{{ref|reference_name_B|b}} * Bulleted text{{ref|reference_name_C|c}}. * * intervening text * * {{note|reference_name_A|a}}Text for note a. * {{note|reference_name_B|b}}Text for note b. * {{note|reference_name_C|c|Text for note c (with extended highlighting).}} </syntaxhighlight> | Article text{{ref|reference_name_A|a}} more text{{ref|reference_name_B|b}} more text.{{ref|reference_name_C|c}} *Bulleted text{{ref|reference_name_B|b}} *Bulleted text{{ref|reference_name_C|c}}. * *intervening text * *{{note|reference_name_A|a}}Text for note a. *{{note|reference_name_B|b}}Text for note b. *{{note|reference_name_C|c|Text for note c (with extended highlighting).}} |} ===Table footnotes=== One common application for ref and note templates is in placing footnotes below tables, as in the following example taken from the [[Kent#Economy]] article [section]: {| class="wikitable" style="text-align:right;" |- ! Year || Regional GVA{{ref label|rounding|A|↑}} ||COLSPAN=2| Agriculture ||COLSPAN=2| Industry{{ref label|energy|B|↑}} ||COLSPAN=2| Services{{ref label|financial|C|↑}} |- |COLSPAN=8 | County of Kent (excluding Medway) |- | 1995 || '''12,369''' || 379 || 3.1% || 3,886 || 31.4% || 8,104 || 65.5% |- | 2000 || '''15,259''' || 259 || 1.7% || 4,601 || 30.2% || 10,399 || 68.1% |- | 2003 || '''18,126''' || 287 || 1.6% || 5,057 || 27.9% || 12,783 || 70.5% |- |COLSPAN=8 | Medway |- | 1995 || '''1,823''' || 21 || 3.1% || 560 || 31.4% || 1,243 || 68.2% |- | 2000 || '''2,348''' || 8 || 1.7% || 745 || 30.2% || 1,595 || 67.9% |- | 2003 || '''2,671''' || 10 || 1.6% || 802 || 27.9% || 1,859 || 69.6% |} <ol type="A"> <li>{{note label|rounding|A|↑|Components may not sum to totals due to rounding}}</li> <li>{{note label|energy|B|↑|Includes energy and construction}}</li> <li>{{note label|financial|C|↑|Includes financial intermediation services indirectly measured}}</li> </ol> ==Alternative referencing style== The [[mw:Reference Tooltips|Reference Tooltips]] gadget does not work with these templates. Using ref/note tags is not the only way to create [[Help:Footnotes|footnotes]]. [[mw:Extension:Cite/Cite.php|Cite.php]] (with which Reference Tooltips does work) is currently the preferred method of creating footnotes, especially when the number of footnotes increases and the size of the article (or the area in which footnotes are used) grows. [[User:Cyde/Ref converter|Ref converter]] can convert ref/note tags to the newer Cite.php style. The following examples compares two method and also shows how they can be combined: {| class=wikitable |+ Additional examples ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;">Yammer yammer yammer.<ref name=smith2000>Smith wrote the definitive book on yammering.{{ref|Smith2000|Smith 2000}}</ref> Yammer yammer yammer.<ref name=smith2000/> ... ==References== {{reflist}} ... ==Bibliography== *{{note|Smith2000}} Smith (2000). "A book about yammering". </syntaxhighlight> | Yammer yammer yammer.<ref name=smith2000>Smith wrote the definitive book on yammering.{{ref|Smith2000|Smith 2000}}</ref> Yammer yammer yammer.<ref name=smith2000/> ... {{fake heading|References}} {{reflist}} ... {{fake heading|Bibliography}} *{{note|Smith2000}} Smith (2000). "A book about yammering". |} Also see examples and explanation in [[Wikipedia:Footnote3]]. ==See also== * [[Wikipedia:Footnote3]], an essay on this method of creating footnotes * [[Help:Footnotes]] * [[Wikipedia:Template messages/Sources of articles]] * [[:Category:Citation templates]], including those not part of the ref–note label system * {{template|Rp}} * [[Template:Ref/examples]] {{Wikipedia referencing}}<includeonly> {{Sandbox other|| <!-- Categories below this line; interwikis at Wikidata --> [[Category:Footnote3 templates]] [[Category:Inline templates]] }}</includeonly> df221013e65703ffb7a4c68b52ea300cb1020f13 1 84 856 2023-05-31T18:18:47Z Matrim112830 2 Created page with "This page needs to be completed: add direct references to https://www.enculturation.net/files/QueerRhetoric/queerarchive/queerrhet.html add reference to https://www.routledge.com/The-Routledge-Handbook-of-Queer-Rhetoric/Rhodes-Alexander/p/book/9780367696580" wikitext text/x-wiki This page needs to be completed: add direct references to https://www.enculturation.net/files/QueerRhetoric/queerarchive/queerrhet.html add reference to https://www.routledge.com/The-Routledge-Handbook-of-Queer-Rhetoric/Rhodes-Alexander/p/book/9780367696580 a0983f059e0ee7708f9fde4b8eee16bc42bd93b6 857 856 2023-05-31T18:19:24Z Matrim112830 2 wikitext text/x-wiki This page needs to be completed: 1. add direct references to https://www.enculturation.net/files/QueerRhetoric/queerarchive/queerrhet.html <br> 2. add reference to https://www.routledge.com/The-Routledge-Handbook-of-Queer-Rhetoric/Rhodes-Alexander/p/book/9780367696580 9665712e747ab6ff52fb41ba7dd41c7b1fbca34c 858 857 2023-05-31T18:20:48Z Matrim112830 2 wikitext text/x-wiki This page needs to be completed: 1. add direct references to https://www.enculturation.net/files/QueerRhetoric/queerarchive/queerrhet.html <br> 2. add reference to https://www.routledge.com/The-Routledge-Handbook-of-Queer-Rhetoric/Rhodes-Alexander/p/book/9780367696580 --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:20, 31 May 2023 (UTC) db757ed38a1a1989df082f523d4a7312cbc7a67b 859 858 2023-05-31T18:21:24Z Matrim112830 2 wikitext text/x-wiki REVISONS: 1. add direct references to https://www.enculturation.net/files/QueerRhetoric/queerarchive/queerrhet.html <br> --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:21, 31 May 2023 (UTC) 2. add reference to https://www.routledge.com/The-Routledge-Handbook-of-Queer-Rhetoric/Rhodes-Alexander/p/book/9780367696580 --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:20, 31 May 2023 (UTC) a970a6213ef27e2c4379b3a1791a55eefbba0d0b 860 859 2023-05-31T18:21:42Z Matrim112830 2 wikitext text/x-wiki REVISONS: 1. add direct references to https://www.enculturation.net/files/QueerRhetoric/queerarchive/queerrhet.html --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:21, 31 May 2023 (UTC) <br> 2. add reference to https://www.routledge.com/The-Routledge-Handbook-of-Queer-Rhetoric/Rhodes-Alexander/p/book/9780367696580 --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:20, 31 May 2023 (UTC) e3c1a0b49febcc50078c6571845eec80ed405e47 0 85 861 2023-05-31T18:23:28Z Matrim112830 2 Created page with "Queer resists definition. ==Perspectives== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore disidentificatio..." wikitext text/x-wiki Queer resists definition. ==Perspectives== In this course we will engage with queer rhetorical strategies through queer archives, art, and activism. We’ll begin with defining queerness through José Esteban Muñoz, E. Patrick Johnson, and Jack Halberstam as being “more than identitarian markers,” a way of “destabilizing fixed notions of identity” and the reliance on “nonnormative logics and organizations of communities.” We will explore [[disidentification]] with classical and heteronormative/homonormative rhetorics as we seek to create: (1) a more complete archive of queer experience, (2) queer arts and queerer arts, and (3) contributions to emerging and ongoing queer activism. == Notes == == References == <references/> 8627fe76ff5a17242b033f47f2eed30151f01edf 862 861 2023-05-31T18:23:44Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. ==Perspectives== == Notes == == References == <references/> adcb4c8deac860195e843f25d4fc3b2f3e38d4ec 863 862 2023-05-31T18:24:55Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. ==Perspectives== ===Billy Ray Belcourt=== ==another heading== == Notes == == References == <references/> cf762a5a2f309551c1c37d09827bf30a8aeb0154 864 863 2023-05-31T18:28:50Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I ([[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:28, 31 May 2023 (UTC)) find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. ==Perspectives== ===Billy Ray Belcourt=== ==another heading== == Notes == == References == <references/> 24af3f8989f544e6dea26bc1cc315921d194c185 865 864 2023-05-31T18:32:01Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I ([[User:Matrim112830|Matrim112830] find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. ==Perspectives== ===Billy Ray Belcourt=== ==another heading== == Notes == == References == <references/> 822a7a5a69ae0ad5f9ccbdddd6577db5b59ba089 866 865 2023-05-31T18:34:22Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- ~~~~ --> ==Perspectives== ===Billy Ray Belcourt=== ==another heading== == Notes == == References == <references/> a8309ca1a9f1c5badb553e73d76737dc902d1bad 867 866 2023-05-31T18:34:47Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- ~~~~ --> [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) ==Perspectives== ===Billy Ray Belcourt=== ==another heading== == Notes == == References == <references/> e2877df5557d8e88e06aabcd0a60cc0bf1ffb1b8 868 867 2023-05-31T18:35:15Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== ==another heading== == Notes == == References == <references/> 4c94c3cc5f5058b11afda00d4c9511974c28709a 869 868 2023-05-31T18:35:43Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== ==another heading== == Notes == == References == <references/> b8501f26beb9a555d4c92aea4e6db7d2954640d0 874 869 2023-05-31T19:44:59Z Matrim112830 2 /* Billy Ray Belcourt */ wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020. </ref> ==another heading== == Notes == == References == <references/> 0b36ddb3c3331a84dd19db886ddb5aa2e6fd4671 875 874 2023-05-31T19:46:37Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> ==another heading== == Notes == == References == <references/> 945b00087c0da9d443e8474a2e326e9a3e9f18f0 876 875 2023-05-31T19:47:56Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 5dc86dc9884451ed013633c5c7bb8b634336d4d3 1 86 870 2023-05-31T18:37:14Z Matrim112830 2 Created page with "Instead of doing my work I'm editing queerwiki. I want to make some notes on some of the things I'm doing that may or may not be different from wikipedia. --~~~~" wikitext text/x-wiki Instead of doing my work I'm editing queerwiki. I want to make some notes on some of the things I'm doing that may or may not be different from wikipedia. --[[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:37, 31 May 2023 (UTC) b270115b8d76f50b2741309627603f935a4b40df 3 87 871 2023-05-31T18:39:32Z Matrim112830 2 Created page with "I want the "I" to be in Queer Wiki, but "I" gets lost in the "objective" tone of wikis. As a temporary (?) answer, I've used the <<!-- ... --> code to hide my signature in the discussion but keeping it "invisible" on the main page. Example: ~~~~" wikitext text/x-wiki I want the "I" to be in Queer Wiki, but "I" gets lost in the "objective" tone of wikis. As a temporary (?) answer, I've used the <<!-- ... --> code to hide my signature in the discussion but keeping it "invisible" on the main page. Example: [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:39, 31 May 2023 (UTC) 61fe8ed7ca2ae04d281f3b44c950f7075d321723 872 871 2023-05-31T18:40:32Z Matrim112830 2 wikitext text/x-wiki I want the "I" to be in Queer Wiki, but "I" gets lost in the "objective" tone of wikis. As a temporary (?) answer, I've used the <<!-- ... --> code to hide my signature in the discussion but keeping it "invisible" on the main page. Example: (click edit to see the example) <<!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:39, 31 May 2023 (UTC) --> [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:40, 31 May 2023 (UTC) 19cdc794227f873043dcf01d99b87ab4ff373d21 873 872 2023-05-31T18:41:09Z Matrim112830 2 wikitext text/x-wiki I want the "I" to be in Queer Wiki, but "I" gets lost in the "objective" tone of wikis. As a temporary (?) answer, I've used the <!-- ... --> code to hide my signature in the discussion but keeping it "invisible" on the main page. Example: (click edit to see the example) <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:39, 31 May 2023 (UTC) --> [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:40, 31 May 2023 (UTC) 74b216c027d3505458366c1ee4bf6078ea408c6f 10 183 1074 2023-06-04T02:25:06Z wikipedia>Derykfoote 0 Clarify verifiability policy criteria using "neither/nor" to indicate the two negative alternatives as listed wikitext text/x-wiki {{Documentation subpage}} {{Redirect|Template:Proveit|the template about the referencing gadget|Template:User ProveIt}} {{High-use}} {{Notice|An introductory version of this documentation is provided at [[Wikipedia:Citation needed]].}} {{Template shortcut|cn|facts|uncited|citeneeded}} {{Template redirect|citationneeded|reference needed}} <noinclude>{{pp-semi-indef}}<!--persistent vandalism from anon users--></noinclude> {{Tl|Citation needed}} is a [[Wikipedia:Template messages|template]] used to identify claims in articles, particularly if questionable, that need a [[Wikipedia:Citing sources|citation]] to a [[WP:Reliable sources|reliable source]]. This template produces the superscripted message&nbsp;{{citation needed|date=May 2013|reason=example}} and is installed with no spaces directly after punctuation. == Use == :{{tnull|Citation needed|date{{=}}{{CURRENTMONTHNAME}} {{CURRENTYEAR}}}} :{{tnull|Citation needed|date{{=}}{{CURRENTMONTHNAME}} {{CURRENTYEAR}}|reason{{=}}''Your explanation here''}} === Notes === * The {{para|date}} parameter consists of the full English name of the current month (with initial capital and rest lowercase), a space, and the year. For example, "{{xt|January 2013}}" but not "{{!xt|jan13}}" or "{{!xt|January 23, 2013}}". Deviation from this rule will place the article in [[:Category:Articles with invalid date parameter in template]]. ** To automatically add the current date, you can use [[Help:Substitution|substitution]] like this: <code><nowiki>{{subst:Citation needed}}</nowiki></code>. ** If the {{para|date}} parameter is not given, a [[Wikipedia:Bots|bot]] will soon add it ([[User:AnomieBOT|AnomieBOT]]'s TagDater task) but it's better if you add it yourself to avoid an extra edit to the article's history. * The {{para|reason}} parameter is for an explanation why you think the material needs a source. It is optional but very helpful. It is displayed as a [[tooltip]] in some browsers (hover the mouse here {{Citation needed|reason=If and only if this text is displayed, the reason parameter is working in your browser|date={{currentmonth}} {{currentyear}}}} to check behaviour of your browser). For example, the following usage might be appropriate to the claim that "Humphrey Bogart was an avid snooker player": <br> {{tnull|Citation needed|reason{{=}}This claim needs a reliable source; Bogart was a famous actor but his major biographies don't mention snooker.|date{{=}}{{CURRENTMONTHNAME}} {{CURRENTYEAR}}}} ** Use only [[plain text]] for the {{para|reason}} parameter. It does not support [[Help:Wiki markup|wiki markup]] like wikilinks, which can mess up the tooltip. ** Double quotation marks used within the {{para|reason}} parameter will likewise mess up the tooltip; use single quotes or the HTML code <code>&amp;quot;</code> instead. ** If omitted, the tooltip "This claim needs references to reliable sources." is used by default. * This template should usually be installed directly ''after'' punctuation, such as a full stop (period) or a comma. * Use of this template places the article into [[:Category:All articles with unsourced statements]] and [[:Category:Articles with unsourced statements from {{CURRENTMONTHNAME}} {{CURRENTYEAR}}]] (example; past months are listed in [[:Category:Articles with unsourced statements]]). * Remove the template when you add a citation for a statement. == Examples == === Example 1 === :<code><nowiki>This sentence shows the template used at the end.{{Citation needed|reason=Reliable source needed for the whole sentence|date=</nowiki>{{CURRENTMONTHNAME}} {{CURRENTYEAR}}}}</code> This wikitext will be rendered as follows: :This sentence shows the template used at the end.{{Citation needed|reason=Reliable source needed for the whole sentence|date={{CURRENTMONTHNAME}} {{CURRENTYEAR}}}} === Example 2 === :<code><nowiki>[[Humphrey Bogart]] was an avid snooker player.{{Citation needed|date=</nowiki>{{currentmonth}} {{currentyear}}}}</code> The template indicates that it may be that Humphrey Bogart played snooker at some point and it may be that he was enthusiastic about the game but no ''reliable'', ''published'' sources were given to verify it and the information is not considered [[common knowledge]]. :[[Humphrey Bogart]] was an avid snooker player.{{Citation needed|date={{currentmonth}} {{currentyear}}}} === Example 3 === If it is considered that he might have played snooker but was not an avid player, a reason for the need of a citation may be given, displayed as a tooltip when the mouse hovers on "citation needed": :<code><nowiki>[[Humphrey Bogart]] was an avid snooker player.{{Citation needed|date=</nowiki>{{CURRENTMONTHNAME}} {{CURRENTYEAR}}|reason=Only aware he was photographed playing once. Not aware of any source that claims he played a lot.}}</code> :[[Humphrey Bogart]] was an avid snooker player.{{Citation needed|date={{CURRENTMONTHNAME}} {{CURRENTYEAR}}|reason=Only aware he was photographed playing once. Not aware of any source that claims he played a lot.}} In this example, it may be better to use the {{tl|Citation needed span}}, which has slightly different syntax, template to highlight the word "avid". == When not to use this template == Contentious material about [[Wikipedia:Biographies of living persons|living persons]] that is unsourced or poorly sourced should be '''removed immediately'''. Do not tag it; immediately remove it. This includes material that is disparaging, misrepresentative, insulting, harmful, or possibly [[libelous]]. For some policy about this, see the sections [[Wikipedia:Biographies of living persons#Remove contentious material that is unsourced or poorly sourced|"Remove contentious material that is unsourced or poorly sourced"]] at [[Wikipedia:Biographies of living persons]] and [[Wikipedia:Verifiability#Burden of evidence|"Burden of evidence"]] at [[Wikipedia:Verifiability]]. The <nowiki>{{Citation needed}}</nowiki> template is intended for use when there is a general question of the verifiability of a statement, or when an editor believes that a reference verifying the statement should be provided. Other templates are available for other or more specific issues; see the [[#Inline templates|list of inline templates]]. For example, claims that you think are incorrect should be tagged with {{Tl|Dubious}}, and those which represent a non-neutral view should be tagged with {{Tl|POV statement}}. Being specific about the nature of the problem will help other editors correct it. Within a [[Wikipedia:lead section|lead section]] that is clearly written as a summary of a substantially sourced article, * statements that are supported with citations within the body of the article should not be tagged, * statements that are not supported in the article body should be tagged with {{tl|Not verified in body}}. If you have the time and ability to find an authoritative reference, please do so. Then add the citation yourself, or correct the article text. After all, the ultimate goal is not to merely identify problems, but to fix them. While an editor may add this template to any uncited passage for any reason, many editors object to what they perceive as overuse of this tag, particularly in what is known as "[[drive-by]]" tagging, which is applying the tag without attempting to address the issues at all. Consider whether adding this tag in an article is the best approach before using it, and use it judiciously. Wikipedia's [[WP:Verifiability|verifiability policy]] requires neither reliable sources for [[Common knowledge|common well-known facts]] (e.g., "the Moon orbits the Earth"), nor that citations be repeated through every sentence in a paragraph. All direct quotations and facts whose accuracy might be challenged (e.g., statistics) require citations. See [[WP:MINREF]] for the list of material that is absolutely required to be followed by an [[Wikipedia:Inline citation|inline citation]], rather than a [[Wikipedia:General references|general reference]] or no citation at all. Also note that the [[WP:BURDEN|burden of evidence]] lies with the editor who adds or restores material. This template is intended for specific passages that need citation. For entire articles or sections that contain significant material lacking citations (rather than just specific short passages), there are other, more appropriate templates, such as {{Tl|Unreferenced}} and {{Tl|More citations needed}} (for whole articles) as well as {{Tl|Unreferenced section}} and {{Tl|More citations needed section}} (for sections of articles). Do not use this template to tag policies or guidelines. == How to respond to this tag == The addition of this tag is a request for an inline citation to support the tagged statement. If you are able to provide a citation to support the claim, then please do so. Except for [[WP:Biographies of living persons|contentious claims about living people]], which should be immediately removed if not cited, there is no specific deadline for providing citations. Please do not delete information that you believe is correct solely because no one has provided a citation within an arbitrary time limit. If there is some uncertainty about its accuracy, most editors are willing to wait at least a month to see whether a citation can be provided. == Template data == {{TemplateData header}} <templatedata> { "description": "The template is used to identify claims in articles, particularly if questionable, that lack a citation to a reliable source.", "params": { "date": { "label": "Month and year", "description": "Provides the month and year of the citation request; e.g., 'January 2013', but not 'jan13'", "type": "string", "autovalue": "{{subst:CURRENTMONTHNAME}} {{subst:CURRENTYEAR}}", "suggested": true }, "reason": { "label": "Reason for citation", "description": "A reason as to why, or for what content, the citation is needed; use single quotes, if any", "type": "string" } } } </templatedata> == Tracking categories == * {{clc|Pages containing citation needed template with unsupported parameters}} – a hidden maintenance/tracking category which is added to pages using this template with unsupported parameters * {{clc|All articles with unsourced statements}} == See also == * [[Citation needed]], Wikipedia's mainspace article about this template * [[Template:Not verified in body]], a similar template specifically for the lead of articles * [[Template:Medical citation needed]] * [[Template:More citations needed]] * [[Wikipedia:Citing sources]], especially [[Wikipedia:Citing sources#Unsourced material|Unsourced material]] * [[Wikipedia:Reliable sources]] * [[Wikipedia:Template index/Cleanup#Verifiability and sources]] * [[Wikipedia:Template index/Sources of articles]] * [[Wikipedia:Verifiability]] === Article message box templates === * {{Tl|Cite check}}: article or section may have inappropriate or misinterpreted citations. * {{Tl|More citations needed}}: article or section has weak or incomplete sources, references, or citations. * {{Tl|Unreferenced}} and {{Tl|Unreferenced section}}: article or section has no sources, references, or citations given at all. * Citation method and style ** {{Tl|Citation style}} ** {{Tl|No footnotes}} {{Inline cleanup tags}} <includeonly>{{Sandbox other|| <!-- Template categories --> [[Category:Inline citation and verifiability dispute templates]] [[Category:Templates that add a tracking category]] }}</includeonly> 2603d8512dbca78c1af33dbb8f45984575256cd5 828 177 1064 2023-06-04T05:11:35Z wikipedia>Ahechtbot 0 [[Wikipedia:BOT|Bot]]: Updated page. Scribunto text/plain return { ["C"] = 862000, ["C-Class"] = 78000, ["C-SPAN"] = 12000, ["C-cmn"] = 2600, ["C-pl"] = 52000, ["C."] = 3800, ["CAN"] = 20000, ["CANelec"] = 14000, ["CANelec/gain"] = 2500, ["CANelec/hold"] = 4600, ["CANelec/source"] = 6800, ["CANelec/top"] = 6000, ["CANelec/total"] = 5900, ["CAS"] = 3800, ["CBB_Standings_End"] = 15000, ["CBB_Standings_Entry"] = 15000, ["CBB_Standings_Start"] = 15000, ["CBB_Yearly_Record_End"] = 3000, ["CBB_Yearly_Record_Entry"] = 3100, ["CBB_Yearly_Record_Start"] = 3000, ["CBB_Yearly_Record_Subhead"] = 3600, ["CBB_Yearly_Record_Subtotal"] = 2800, ["CBB_roster/Footer"] = 7800, ["CBB_roster/Header"] = 7800, ["CBB_roster/Player"] = 7800, ["CBB_schedule_end"] = 10000, ["CBB_schedule_entry"] = 11000, ["CBB_schedule_start"] = 11000, ["CBB_yearly_record_end"] = 4100, ["CBB_yearly_record_end/legend"] = 3600, ["CBB_yearly_record_entry"] = 4000, ["CBB_yearly_record_start"] = 4000, ["CBB_yearly_record_subhead"] = 3700, ["CBB_yearly_record_subtotal"] = 3800, ["CBSB_Standings_End"] = 4400, ["CBSB_Standings_Entry"] = 4400, ["CBSB_Standings_Start"] = 4400, ["CBSB_link"] = 3500, ["CC0"] = 4000, ["CENTURY"] = 16000, ["CFB_Standings_End"] = 34000, ["CFB_Standings_Entry"] = 34000, ["CFB_Standings_Start"] = 34000, ["CFB_Yearly_Record_End"] = 6600, ["CFB_Yearly_Record_End/legend"] = 2300, ["CFB_Yearly_Record_Entry"] = 6600, ["CFB_Yearly_Record_Start"] = 6600, ["CFB_Yearly_Record_Subhead"] = 6600, ["CFB_Yearly_Record_Subtotal"] = 6500, ["CFB_schedule"] = 26000, ["CFB_schedule_entry"] = 19000, ["CFL_Year"] = 5600, ["CGF_year"] = 2600, ["CHE"] = 10000, ["CHI"] = 2700, ["CHL"] = 3600, ["CHN"] = 11000, ["CN"] = 3300, ["CO2"] = 3200, ["COI"] = 14000, ["COIUL"] = 128000, ["COI_editnotice"] = 6600, ["COL"] = 4900, ["COLON"] = 13000, ["CRI"] = 2200, ["CRO"] = 4800, ["CSK"] = 2800, ["CSS_image_crop"] = 4400, ["CUB"] = 3600, ["CURRENTDATE"] = 3600, ["CURRENTMINUTE"] = 2500, ["CYP"] = 2000, ["CZE"] = 15000, ["Calendar"] = 2400, ["California/color"] = 11000, ["Call_sign_disambiguation"] = 3000, ["Campaignbox"] = 22000, ["CanProvName"] = 13000, ["CanadaByProvinceCatNav"] = 9800, ["CanadaProvinceThe"] = 4000, ["Canadian_English"] = 6700, ["Canadian_Parliament_links"] = 5100, ["Canadian_election_result"] = 14000, ["Canadian_election_result/gain"] = 2600, ["Canadian_election_result/hold"] = 4800, ["Canadian_election_result/source"] = 7900, ["Canadian_election_result/top"] = 13000, ["Canadian_election_result/top/ElectionYearTest"] = 5700, ["Canadian_election_result/total"] = 10000, ["Canadian_party_colour"] = 8000, ["Canadian_party_colour/colour"] = 18000, ["Canadian_party_colour/colour/default"] = 17000, ["Canadian_party_colour/name"] = 15000, ["Canadian_party_colour/name/default"] = 6700, ["Canned_search"] = 5200, ["Cascite"] = 15000, ["Caselaw_source"] = 4000, ["Cassini-Ehess"] = 2600, ["Cast_listing"] = 15000, ["Castlist"] = 2300, ["Cat"] = 341000, ["CatAutoTOC"] = 651000, ["CatAutoTOC/core"] = 404000, ["CatRel"] = 3800, ["CatTrack"] = 3100, ["Cat_class"] = 6600, ["Cat_in_use"] = 50000, ["Cat_main"] = 197000, ["Cat_more"] = 100000, ["Cat_more_if_exists"] = 41000, ["Cat_see_also"] = 3500, ["Catalog_lookup_link"] = 513000, ["Category-Class"] = 14000, ["Category-inline"] = 8900, ["Category_TOC"] = 72000, ["Category_TOC/tracking"] = 72000, ["Category_U.S._State_elections_by_year"] = 7300, ["Category_U.S._State_elections_by_year/core"] = 7300, ["Category_class"] = 35000, ["Category_class/column"] = 35000, ["Category_class/second_row_column"] = 35000, ["Category_described_in_year"] = 5700, ["Category_diffuse"] = 7900, ["Category_disambiguation"] = 2400, ["Category_disambiguation/category_link"] = 2400, ["Category_explanation"] = 230000, ["Category_handler"] = 3280000, ["Category_ifexist"] = 5000, ["Category_importance"] = 10000, ["Category_importance/column"] = 10000, ["Category_importance/second_row_column"] = 10000, ["Category_link"] = 125000, ["Category_link_with_count"] = 6700, ["Category_more"] = 110000, ["Category_more_if_exists"] = 41000, ["Category_ordered_by_date"] = 11000, ["Category_other"] = 883000, ["Category_redirect"] = 105000, ["Category_see_also"] = 39000, ["Category_see_also/Category_pair_check"] = 39000, ["Category_see_also_if_exists"] = 72000, ["Category_see_also_if_exists_2"] = 88000, ["Category_title"] = 2400, ["Catexp"] = 7800, ["CathEncy"] = 2300, ["Catholic"] = 4100, ["Catholic_Encyclopedia"] = 5100, ["Catmain"] = 26000, ["Catmore"] = 9300, ["Cbb_link"] = 8500, ["Cbignore"] = 100000, ["Cbsb_link"] = 2100, ["Cc-by-2.5"] = 3900, ["Cc-by-3.0"] = 8800, ["Cc-by-sa-2.5"] = 2600, ["Cc-by-sa-2.5,2.0,1.0"] = 2700, ["Cc-by-sa-3.0"] = 26000, ["Cc-by-sa-3.0,2.5,2.0,1.0"] = 2300, ["Cc-by-sa-3.0-migrated"] = 25000, ["Cc-by-sa-4.0"] = 12000, ["Cc-zero"] = 3900, ["CensusAU"] = 9300, ["Census_2016_AUS"] = 7100, ["Cent"] = 5700, ["Center"] = 288000, ["Centralized_discussion"] = 6000, ["Centralized_discussion/core"] = 6000, ["Centralized_discussion/styles.css"] = 6000, ["Centre"] = 3100, ["Century"] = 2100, ["Century_name_from_decade"] = 2400, ["Century_name_from_decade_or_year"] = 77000, ["Century_name_from_title_decade"] = 7600, ["Century_name_from_title_year"] = 7600, ["Certification_Cite/Title"] = 29000, ["Certification_Cite/URL"] = 33000, ["Certification_Cite/archivedate"] = 5900, ["Certification_Cite/archiveurl"] = 5900, ["Certification_Cite_Ref"] = 29000, ["Certification_Table_Bottom"] = 28000, ["Certification_Table_Entry"] = 29000, ["Certification_Table_Entry/Foot"] = 28000, ["Certification_Table_Entry/Foot/helper"] = 28000, ["Certification_Table_Entry/Region"] = 29000, ["Certification_Table_Entry/Sales"] = 28000, ["Certification_Table_Entry/Sales/BelgianPeriod"] = 2100, ["Certification_Table_Entry/Sales/DanishPeriod"] = 3200, ["Certification_Table_Entry/Sales/DanishPeriodHelper1"] = 3200, ["Certification_Table_Entry/Sales/DanishPeriodHelper2"] = 3200, ["Certification_Table_Entry/Sales/GermanPeriod"] = 3900, ["Certification_Table_Entry/Sales/ItalianHelper"] = 3100, ["Certification_Table_Entry/Sales/NewZealandPeriod"] = 2000, ["Certification_Table_Entry/Sales/SwedishPeriod"] = 2100, ["Certification_Table_Separator"] = 2300, ["Certification_Table_Top"] = 29000, ["Cfb_link"] = 24000, ["Cfd_all"] = 3200, ["Cfd_result"] = 2400, ["Cfdend"] = 4000, ["Chart"] = 4600, ["Chart/end"] = 4600, ["Chart/start"] = 4600, ["Chart_bottom"] = 3400, ["Chart_top"] = 3400, ["Check_completeness_of_transclusions"] = 7300, ["Check_talk"] = 30000, ["Check_talk_wp"] = 1370000, ["Check_winner_by_scores"] = 13000, ["CheckedSockpuppet"] = 7100, ["Checked_sockpuppet"] = 18000, ["Checkedsockpuppet"] = 5300, ["Checkip"] = 13000, ["Checkuser"] = 74000, ["Checkuserblock-account"] = 15000, ["Chem"] = 5800, ["Chem/atom"] = 5700, ["Chem/link"] = 5800, ["Chem2"] = 4500, ["Chem_molar_mass"] = 18000, ["Chem_molar_mass/format"] = 18000, ["Chembox"] = 14000, ["Chembox/styles.css"] = 14000, ["Chembox_3DMet"] = 14000, ["Chembox_3DMet/format"] = 14000, ["Chembox_AllOtherNames"] = 13000, ["Chembox_AllOtherNames/format"] = 13000, ["Chembox_Appearance"] = 6000, ["Chembox_BoilingPt"] = 3800, ["Chembox_CASNo"] = 14000, ["Chembox_CASNo/format"] = 14000, ["Chembox_CalcTemperatures"] = 6700, ["Chembox_ChEBI"] = 14000, ["Chembox_ChEBI/format"] = 14000, ["Chembox_ChEMBL"] = 14000, ["Chembox_ChEMBL/format"] = 14000, ["Chembox_ChemSpiderID"] = 14000, ["Chembox_ChemSpiderID/format"] = 14000, ["Chembox_CompTox"] = 14000, ["Chembox_CompTox/format"] = 14000, ["Chembox_Datapage_check"] = 14000, ["Chembox_Density"] = 4800, ["Chembox_DrugBank"] = 14000, ["Chembox_DrugBank/format"] = 14000, ["Chembox_ECHA"] = 7500, ["Chembox_ECNumber"] = 14000, ["Chembox_ECNumber/format"] = 14000, ["Chembox_Elements"] = 13000, ["Chembox_Elements/molecular_formula"] = 18000, ["Chembox_Footer"] = 14000, ["Chembox_Footer/tracking"] = 14000, ["Chembox_GHS_(set)"] = 3400, ["Chembox_Hazards"] = 11000, ["Chembox_IUPHAR_ligand"] = 14000, ["Chembox_IUPHAR_ligand/format"] = 14000, ["Chembox_Identifiers"] = 14000, ["Chembox_InChI"] = 12000, ["Chembox_InChI/format"] = 12000, ["Chembox_Indexlist"] = 14000, ["Chembox_Jmol"] = 14000, ["Chembox_Jmol/format"] = 14000, ["Chembox_KEGG"] = 14000, ["Chembox_KEGG/format"] = 14000, ["Chembox_MeltingPt"] = 5800, ["Chembox_Properties"] = 14000, ["Chembox_PubChem"] = 14000, ["Chembox_PubChem/format"] = 14000, ["Chembox_RTECS"] = 14000, ["Chembox_RTECS/format"] = 14000, ["Chembox_Related"] = 3300, ["Chembox_SMILES"] = 13000, ["Chembox_SMILES/format"] = 13000, ["Chembox_SolubilityInWater"] = 3900, ["Chembox_Structure"] = 2100, ["Chembox_UNII"] = 14000, ["Chembox_UNII/format"] = 14000, ["Chembox_headerbar"] = 14000, ["Chembox_image"] = 13000, ["Chembox_image_cell"] = 12000, ["Chembox_image_sbs"] = 13000, ["Chembox_parametercheck"] = 13000, ["Chembox_setDatarow"] = 4400, ["Chembox_setHeader"] = 4400, ["Chembox_templatePar/formatPreviewMessage"] = 14000, ["Chembox_verification"] = 7200, ["Chemicals"] = 7400, ["Chemistry"] = 3100, ["Chemspidercite"] = 11000, ["Chessgames_player"] = 3600, ["Chinese"] = 7300, ["Chr"] = 9100, ["ChristianityWikiProject"] = 5800, ["Circa"] = 66000, ["Circular_reference"] = 4200, ["Citation"] = 398000, ["Citation/make_link"] = 6000, ["Citation/styles.css"] = 46000, ["Citation_needed"] = 538000, ["Citation_needed_span"] = 3500, ["Citation_style"] = 4200, ["Cite_AV_media"] = 42000, ["Cite_AV_media_notes"] = 26000, ["Cite_Appletons'"] = 2400, ["Cite_Australian_Dictionary_of_Biography"] = 3300, ["Cite_Catholic_Encyclopedia"] = 8100, ["Cite_Colledge2006"] = 3100, ["Cite_DCB"] = 2800, ["Cite_DNB"] = 18000, ["Cite_EB1911"] = 25000, ["Cite_GNIS"] = 2300, ["Cite_Gaia_DR2"] = 2100, ["Cite_Jewish_Encyclopedia"] = 2900, ["Cite_NIE"] = 3600, ["Cite_NSW_Parliament"] = 3300, ["Cite_NSW_SHR"] = 2600, ["Cite_ODNB"] = 17000, ["Cite_Q"] = 43000, ["Cite_QHR"] = 3000, ["Cite_QPN"] = 4000, ["Cite_Rowlett"] = 2500, ["Cite_Russian_law"] = 7800, ["Cite_Ryan"] = 3200, ["Cite_Sports-Reference"] = 54000, ["Cite_USGov"] = 24000, ["Cite_WoRMS"] = 5400, ["Cite_act"] = 2600, ["Cite_arXiv"] = 4900, ["Cite_bcgnis"] = 3100, ["Cite_book"] = 1570000, ["Cite_certification"] = 33000, ["Cite_cgndb"] = 3200, ["Cite_conference"] = 15000, ["Cite_court"] = 5300, ["Cite_court/styles.css"] = 5300, ["Cite_dictionary"] = 5400, ["Cite_document"] = 7500, ["Cite_encyclopedia"] = 200000, ["Cite_episode"] = 17000, ["Cite_gnis"] = 34000, ["Cite_interview"] = 7600, ["Cite_iucn"] = 57000, ["Cite_journal"] = 947000, ["Cite_magazine"] = 257000, ["Cite_map"] = 37000, ["Cite_news"] = 1480000, ["Cite_newspaper_The_Times"] = 6500, ["Cite_patent"] = 5400, ["Cite_patent/authors"] = 4300, ["Cite_patent/core"] = 5700, ["Cite_peakbagger"] = 4500, ["Cite_podcast"] = 3600, ["Cite_press_release"] = 63000, ["Cite_report"] = 35000, ["Cite_rowlett"] = 2500, ["Cite_simbad"] = 4400, ["Cite_sports-reference"] = 59000, ["Cite_thesis"] = 31000, ["Cite_tweet"] = 35000, ["Cite_video"] = 12000, ["Cite_video_game"] = 3100, ["Cite_web"] = 4520000, ["Cite_wikisource"] = 5500, ["Cite_wikisource/make_link"] = 58000, ["Civil_navigation"] = 2700, ["Cl"] = 123000, ["Clade"] = 7500, ["Clade/styles.css"] = 7500, ["Clarify"] = 40000, ["Class"] = 8190000, ["Class/colour"] = 547000, ["Class/icon"] = 28000, ["Class_mask"] = 8550000, ["Class_mask/b"] = 347000, ["Classical"] = 6900, ["Classicon"] = 4700, ["Clc"] = 5800, ["Cleanup"] = 10000, ["Cleanup_bare_URLs"] = 31000, ["Cleanup_reorganize"] = 2500, ["Cleanup_rewrite"] = 5800, ["Clear"] = 2920000, ["Clear-left"] = 16000, ["Clear_left"] = 30000, ["Clear_right"] = 2900, ["Clerk-Note"] = 9700, ["Clerknote"] = 7400, ["Clickable_button"] = 16000, ["Clickable_button_2"] = 952000, ["Closed_access"] = 4400, ["Closed_rfc_top"] = 2200, ["Clr"] = 3700, ["Clubplayerscat"] = 8300, ["Cmbox"] = 414000, ["Cn"] = 91000, ["Cnote2"] = 2200, ["Cnote2_Begin"] = 2300, ["Cnote2_End"] = 2300, ["Coat_of_arms"] = 5300, ["Cob"] = 12000, ["Code"] = 49000, ["Col-1-of-2"] = 2400, ["Col-2"] = 169000, ["Col-2-of-2"] = 2300, ["Col-3"] = 9700, ["Col-4"] = 3500, ["Col-begin"] = 211000, ["Col-break"] = 210000, ["Col-end"] = 210000, ["Col-float"] = 2700, ["Col-float-break"] = 2600, ["Col-float-end"] = 2600, ["Col-float/styles.css"] = 2700, ["Col-start"] = 20000, ["Colbegin"] = 21000, ["Colend"] = 24000, ["Collapse"] = 9600, ["Collapse_bottom"] = 51000, ["Collapse_top"] = 51000, ["Collapsebottom"] = 3800, ["Collapsetop"] = 3800, ["Collapsible_list"] = 52000, ["Collapsible_option"] = 134000, ["College"] = 8700, ["CollegePrimaryHeader"] = 5700, ["CollegePrimaryStyle"] = 95000, ["CollegeSecondaryStyle"] = 3400, ["College_Athlete_Recruit_End"] = 2800, ["College_Athlete_Recruit_Entry"] = 3000, ["College_Athlete_Recruit_Start"] = 2900, ["College_athlete_recruit_end"] = 4000, ["College_athlete_recruit_entry"] = 4100, ["College_athlete_recruit_start"] = 4100, ["College_color_list"] = 3900, ["Colon"] = 17000, ["Color"] = 463000, ["Color_box"] = 72000, ["Colorbox"] = 3600, ["Colorbull"] = 4900, ["Colored_link"] = 62000, ["Colors"] = 3500, ["Colour"] = 5800, ["Coloured_link"] = 6900, ["Column"] = 2400, ["Column/styles.css"] = 2500, ["Columns-end"] = 2200, ["Columns-list"] = 99000, ["Columns-start"] = 2200, ["Comedy"] = 2600, ["Comic_Book_DB"] = 3500, ["Comicbookdb"] = 3500, ["Comics-replaceability"] = 2900, ["Comics_infobox_sec/creator_nat"] = 2800, ["Comics_infobox_sec/formcat"] = 3200, ["Comics_infobox_sec/genre"] = 3900, ["Comics_infobox_sec/genrecat"] = 3600, ["Comics_infobox_sec/styles.css"] = 8100, ["Comicsproj"] = 28000, ["Comma_separated_entries"] = 424000, ["Comma_separated_values"] = 44000, ["Comment"] = 5000, ["Committed_identity"] = 3000, ["Committed_identity/styles.css"] = 3000, ["Commons"] = 65000, ["Commons-inline"] = 19000, ["Commons_cat"] = 48000, ["Commons_category"] = 842000, ["Commons_category-inline"] = 145000, ["Commons_category_inline"] = 6000, ["Commonscat"] = 66000, ["Commonscat-inline"] = 18000, ["Commonscat_inline"] = 2400, ["Commonscatinline"] = 6500, ["Compact_TOC"] = 6900, ["Compact_ToC"] = 4900, ["Compare"] = 5000, ["Compare_image_with_Wikidata"] = 10000, ["Composition_bar"] = 10000, ["Confirmed"] = 16000, ["Confused"] = 2700, ["Confusing"] = 2400, ["CongBio"] = 9700, ["CongLinks"] = 4500, ["Connected_contributor"] = 17000, ["Connected_contributor_(paid)"] = 6800, ["Constellation_navbox"] = 6700, ["Container"] = 11000, ["Container_cat"] = 7500, ["Container_category"] = 42000, ["Containercat"] = 2600, ["Contains_special_characters"] = 4000, ["Contains_special_characters/core"] = 4000, ["Contains_special_characters/styles.css"] = 4000, ["Content_category"] = 7600, ["Contentious_topics/list"] = 13000, ["Contentious_topics/page_restriction_editnotice_base"] = 2400, ["Contentious_topics/page_restriction_talk_notice_base"] = 3600, ["Contentious_topics/talk_notice"] = 6400, ["Context"] = 2700, ["Continent2continental"] = 16000, ["Continent_adjective_to_noun"] = 2200, ["Controversial"] = 3200, ["Convert"] = 1160000, ["Convinfobox"] = 203000, ["Convinfobox/2"] = 16000, ["Convinfobox/3"] = 118000, ["Convinfobox/pri2"] = 62000, ["Convinfobox/prisec2"] = 3000, ["Convinfobox/prisec3"] = 25000, ["Convinfobox/sec2"] = 9200, ["Coord"] = 1320000, ["Coord_missing"] = 96000, ["Coord_missing/CheckCat"] = 95000, ["Coords"] = 8000, ["Copied"] = 18000, ["Copy_edit"] = 2300, ["Copy_to_Wikimedia_Commons"] = 113000, ["Copyvios"] = 5300, ["Cospar"] = 2500, ["Cot"] = 12000, ["Count"] = 653000, ["Country2continent"] = 35000, ["Country2continental"] = 2400, ["Country2nationality"] = 339000, ["CountryPrefixThe"] = 109000, ["Country_abbreviation"] = 88000, ["Country_alias"] = 15000, ["Country_at_games_navbox"] = 2600, ["Country_at_games_navbox/below"] = 2600, ["Country_data"] = 6700, ["Country_data_AFG"] = 2200, ["Country_data_ALB"] = 6500, ["Country_data_ALG"] = 9100, ["Country_data_AND"] = 2900, ["Country_data_ANG"] = 3800, ["Country_data_ARG"] = 46000, ["Country_data_ARM"] = 7200, ["Country_data_AUS"] = 74000, ["Country_data_AUT"] = 45000, ["Country_data_AZE"] = 9000, ["Country_data_Afghanistan"] = 12000, ["Country_data_Alaska"] = 2100, ["Country_data_Albania"] = 19000, ["Country_data_Alberta"] = 3600, ["Country_data_Algeria"] = 24000, ["Country_data_American_Samoa"] = 2900, ["Country_data_Andorra"] = 7800, ["Country_data_Angola"] = 11000, ["Country_data_Anguilla"] = 2500, ["Country_data_Antigua_and_Barbuda"] = 6000, ["Country_data_Apulia"] = 7900, ["Country_data_Argentina"] = 80000, ["Country_data_Arizona"] = 2300, ["Country_data_Arkansas"] = 2000, ["Country_data_Armenia"] = 22000, ["Country_data_Aruba"] = 3600, ["Country_data_Australia"] = 125000, ["Country_data_Austria"] = 77000, ["Country_data_Azerbaijan"] = 27000, ["Country_data_BAH"] = 3800, ["Country_data_BAN"] = 3800, ["Country_data_BAR"] = 2400, ["Country_data_BEL"] = 50000, ["Country_data_BER"] = 2200, ["Country_data_BHR"] = 4500, ["Country_data_BIH"] = 12000, ["Country_data_BLR"] = 24000, ["Country_data_BOL"] = 5600, ["Country_data_BOT"] = 2200, ["Country_data_BRA"] = 57000, ["Country_data_BUL"] = 26000, ["Country_data_Bahamas"] = 9600, ["Country_data_Bahrain"] = 12000, ["Country_data_Bangladesh"] = 18000, ["Country_data_Barbados"] = 8000, ["Country_data_Belarus"] = 43000, ["Country_data_Belgium"] = 88000, ["Country_data_Belize"] = 5200, ["Country_data_Benin"] = 7300, ["Country_data_Bermuda"] = 5700, ["Country_data_Bhutan"] = 4600, ["Country_data_Bolivia"] = 14000, ["Country_data_Bosnia_and_Herzegovina"] = 29000, ["Country_data_Botswana"] = 9000, ["Country_data_Brazil"] = 100000, ["Country_data_British_Columbia"] = 3400, ["Country_data_British_Raj"] = 2200, ["Country_data_British_Virgin_Islands"] = 3200, ["Country_data_Brunei"] = 6200, ["Country_data_Bulgaria"] = 52000, ["Country_data_Burkina_Faso"] = 10000, ["Country_data_Burma"] = 2700, ["Country_data_Burundi"] = 6000, ["Country_data_CAM"] = 2000, ["Country_data_CAN"] = 58000, ["Country_data_CGO"] = 2400, ["Country_data_CHE"] = 4600, ["Country_data_CHI"] = 17000, ["Country_data_CHL"] = 2100, ["Country_data_CHN"] = 41000, ["Country_data_CIV"] = 7900, ["Country_data_CMR"] = 8600, ["Country_data_COD"] = 3200, ["Country_data_COL"] = 24000, ["Country_data_CPV"] = 2000, ["Country_data_CRC"] = 6500, ["Country_data_CRO"] = 33000, ["Country_data_CUB"] = 9800, ["Country_data_CYP"] = 8900, ["Country_data_CZE"] = 45000, ["Country_data_California"] = 5800, ["Country_data_Cambodia"] = 8700, ["Country_data_Cameroon"] = 18000, ["Country_data_Canada"] = 121000, ["Country_data_Cape_Verde"] = 6200, ["Country_data_Castile_and_León"] = 2000, ["Country_data_Catalonia"] = 3100, ["Country_data_Cayman_Islands"] = 4100, ["Country_data_Central_African_Republic"] = 5000, ["Country_data_Chad"] = 5500, ["Country_data_Chile"] = 40000, ["Country_data_China"] = 82000, ["Country_data_Chinese_Taipei"] = 19000, ["Country_data_Colombia"] = 46000, ["Country_data_Colorado"] = 5600, ["Country_data_Comoros"] = 4400, ["Country_data_Confederate_States_of_America"] = 3100, ["Country_data_Connecticut"] = 3200, ["Country_data_Cook_Islands"] = 3800, ["Country_data_Costa_Rica"] = 18000, ["Country_data_Croatia"] = 55000, ["Country_data_Cuba"] = 22000, ["Country_data_Curaçao"] = 3500, ["Country_data_Cyprus"] = 22000, ["Country_data_Czech_Republic"] = 81000, ["Country_data_Czechoslovakia"] = 18000, ["Country_data_DEN"] = 34000, ["Country_data_DEU"] = 8600, ["Country_data_DNK"] = 3500, ["Country_data_DOM"] = 7000, ["Country_data_Democratic_Republic_of_the_Congo"] = 12000, ["Country_data_Denmark"] = 68000, ["Country_data_Djibouti"] = 4500, ["Country_data_Dominica"] = 4200, ["Country_data_Dominican_Republic"] = 17000, ["Country_data_ECU"] = 12000, ["Country_data_EGY"] = 13000, ["Country_data_ENG"] = 46000, ["Country_data_ESA"] = 2200, ["Country_data_ESP"] = 71000, ["Country_data_EST"] = 14000, ["Country_data_ETH"] = 3300, ["Country_data_EU"] = 3700, ["Country_data_East_Germany"] = 14000, ["Country_data_East_Timor"] = 4900, ["Country_data_Ecuador"] = 25000, ["Country_data_Egypt"] = 31000, ["Country_data_El_Salvador"] = 13000, ["Country_data_Empire_of_Japan"] = 3900, ["Country_data_England"] = 96000, ["Country_data_Equatorial_Guinea"] = 5100, ["Country_data_Eritrea"] = 5300, ["Country_data_Estonia"] = 34000, ["Country_data_Eswatini"] = 5000, ["Country_data_Ethiopia"] = 13000, ["Country_data_Europe"] = 2400, ["Country_data_European_Union"] = 7300, ["Country_data_FIJ"] = 3800, ["Country_data_FIN"] = 34000, ["Country_data_FRA"] = 97000, ["Country_data_FRG"] = 15000, ["Country_data_FR_Yugoslavia"] = 4000, ["Country_data_Faroe_Islands"] = 5400, ["Country_data_Federated_States_of_Micronesia"] = 3000, ["Country_data_Fiji"] = 12000, ["Country_data_Finland"] = 68000, ["Country_data_Florida"] = 6500, ["Country_data_France"] = 191000, ["Country_data_French_Guiana"] = 2100, ["Country_data_French_Polynesia"] = 3800, ["Country_data_GAB"] = 2300, ["Country_data_GAM"] = 2000, ["Country_data_GBR"] = 54000, ["Country_data_GDR"] = 8100, ["Country_data_GEO"] = 14000, ["Country_data_GER"] = 81000, ["Country_data_GHA"] = 9700, ["Country_data_GRE"] = 25000, ["Country_data_GUA"] = 4900, ["Country_data_GUI"] = 3100, ["Country_data_GUY"] = 2300, ["Country_data_Gabon"] = 7500, ["Country_data_Gambia"] = 6700, ["Country_data_Georgia"] = 8100, ["Country_data_Georgia_(U.S._state)"] = 2800, ["Country_data_Georgia_(country)"] = 29000, ["Country_data_German_Empire"] = 5300, ["Country_data_Germany"] = 149000, ["Country_data_Ghana"] = 23000, ["Country_data_Gibraltar"] = 4900, ["Country_data_Great_Britain"] = 73000, ["Country_data_Greece"] = 57000, ["Country_data_Greenland"] = 2800, ["Country_data_Grenada"] = 5100, ["Country_data_Guadeloupe"] = 2800, ["Country_data_Guam"] = 4700, ["Country_data_Guatemala"] = 13000, ["Country_data_Guernsey"] = 2100, ["Country_data_Guinea"] = 8300, ["Country_data_Guinea-Bissau"] = 5000, ["Country_data_Guyana"] = 7400, ["Country_data_HAI"] = 3100, ["Country_data_HKG"] = 13000, ["Country_data_HON"] = 4300, ["Country_data_HUN"] = 37000, ["Country_data_Haiti"] = 8600, ["Country_data_Honduras"] = 12000, ["Country_data_Hong_Kong"] = 26000, ["Country_data_Hungary"] = 69000, ["Country_data_IDN"] = 4900, ["Country_data_INA"] = 10000, ["Country_data_IND"] = 30000, ["Country_data_IRE"] = 10000, ["Country_data_IRI"] = 5400, ["Country_data_IRL"] = 21000, ["Country_data_IRN"] = 6200, ["Country_data_IRQ"] = 4100, ["Country_data_ISL"] = 8400, ["Country_data_ISR"] = 21000, ["Country_data_ITA"] = 85000, ["Country_data_Iceland"] = 23000, ["Country_data_Idaho"] = 2100, ["Country_data_Illinois"] = 4400, ["Country_data_India"] = 108000, ["Country_data_Indiana"] = 2800, ["Country_data_Indonesia"] = 36000, ["Country_data_Iowa"] = 3000, ["Country_data_Iran"] = 91000, ["Country_data_Iraq"] = 14000, ["Country_data_Ireland"] = 34000, ["Country_data_Isle_of_Man"] = 2800, ["Country_data_Israel"] = 45000, ["Country_data_Italy"] = 143000, ["Country_data_Ivory_Coast"] = 17000, ["Country_data_JAM"] = 9300, ["Country_data_JOR"] = 3900, ["Country_data_JP"] = 8100, ["Country_data_JPN"] = 58000, ["Country_data_Jamaica"] = 21000, ["Country_data_Japan"] = 117000, ["Country_data_Jersey"] = 2500, ["Country_data_Jordan"] = 12000, ["Country_data_KAZ"] = 19000, ["Country_data_KEN"] = 7100, ["Country_data_KGZ"] = 3700, ["Country_data_KOR"] = 31000, ["Country_data_KOS"] = 2300, ["Country_data_KSA"] = 5800, ["Country_data_KUW"] = 4000, ["Country_data_Kazakhstan"] = 33000, ["Country_data_Kenya"] = 19000, ["Country_data_Kingdom_of_France"] = 2100, ["Country_data_Kingdom_of_Great_Britain"] = 4800, ["Country_data_Kingdom_of_Italy"] = 4200, ["Country_data_Kiribati"] = 2900, ["Country_data_Kosovo"] = 8700, ["Country_data_Kuwait"] = 11000, ["Country_data_Kyrgyzstan"] = 9200, ["Country_data_LAT"] = 14000, ["Country_data_LBN"] = 2300, ["Country_data_LIB"] = 2500, ["Country_data_LIE"] = 3100, ["Country_data_LIT"] = 3000, ["Country_data_LTU"] = 12000, ["Country_data_LUX"] = 10000, ["Country_data_LVA"] = 2500, ["Country_data_Laos"] = 7400, ["Country_data_Latvia"] = 32000, ["Country_data_Lebanon"] = 15000, ["Country_data_Lesotho"] = 5200, ["Country_data_Liberia"] = 7200, ["Country_data_Libya"] = 8600, ["Country_data_Liechtenstein"] = 7700, ["Country_data_Lithuania"] = 31000, ["Country_data_Luxembourg"] = 23000, ["Country_data_MAC"] = 2400, ["Country_data_MAR"] = 12000, ["Country_data_MAS"] = 11000, ["Country_data_MDA"] = 7500, ["Country_data_MEX"] = 30000, ["Country_data_MGL"] = 2900, ["Country_data_MKD"] = 7400, ["Country_data_MLI"] = 4300, ["Country_data_MLT"] = 5500, ["Country_data_MNE"] = 7700, ["Country_data_MON"] = 3600, ["Country_data_MOZ"] = 2100, ["Country_data_MRI"] = 2000, ["Country_data_MYA"] = 3000, ["Country_data_MYS"] = 3700, ["Country_data_Macau"] = 6300, ["Country_data_Macedonia"] = 5000, ["Country_data_Madagascar"] = 9000, ["Country_data_Malawi"] = 5600, ["Country_data_Malaysia"] = 36000, ["Country_data_Maldives"] = 6000, ["Country_data_Mali"] = 12000, ["Country_data_Malta"] = 17000, ["Country_data_Manitoba"] = 2500, ["Country_data_Marshall_Islands"] = 3700, ["Country_data_Martinique"] = 2800, ["Country_data_Maryland"] = 3100, ["Country_data_Massachusetts"] = 2900, ["Country_data_Mauritania"] = 5800, ["Country_data_Mauritius"] = 7900, ["Country_data_Mexico"] = 66000, ["Country_data_Michigan"] = 4300, ["Country_data_Minnesota"] = 3700, ["Country_data_Missouri"] = 2100, ["Country_data_Moldova"] = 19000, ["Country_data_Monaco"] = 10000, ["Country_data_Mongolia"] = 9600, ["Country_data_Montana"] = 2100, ["Country_data_Montenegro"] = 18000, ["Country_data_Montserrat"] = 2500, ["Country_data_Morocco"] = 27000, ["Country_data_Mozambique"] = 7200, ["Country_data_Myanmar"] = 13000, ["Country_data_NAM"] = 3400, ["Country_data_NED"] = 59000, ["Country_data_NEP"] = 2800, ["Country_data_NGA"] = 8000, ["Country_data_NGR"] = 7900, ["Country_data_NIR"] = 9900, ["Country_data_NLD"] = 6000, ["Country_data_NOR"] = 29000, ["Country_data_NZ"] = 3100, ["Country_data_NZL"] = 32000, ["Country_data_Namibia"] = 9700, ["Country_data_Nauru"] = 2500, ["Country_data_Nazi_Germany"] = 9600, ["Country_data_Nepal"] = 17000, ["Country_data_Netherlands"] = 112000, ["Country_data_Netherlands_Antilles"] = 2300, ["Country_data_New_Brunswick"] = 2500, ["Country_data_New_Caledonia"] = 3400, ["Country_data_New_Jersey"] = 4200, ["Country_data_New_South_Wales"] = 5800, ["Country_data_New_York"] = 4800, ["Country_data_New_York_(state)"] = 6800, ["Country_data_New_Zealand"] = 66000, ["Country_data_Newfoundland_and_Labrador"] = 2300, ["Country_data_Nicaragua"] = 8200, ["Country_data_Niger"] = 5800, ["Country_data_Nigeria"] = 32000, ["Country_data_North_Carolina"] = 3500, ["Country_data_North_Korea"] = 13000, ["Country_data_North_Macedonia"] = 17000, ["Country_data_Northern_Ireland"] = 15000, ["Country_data_Northern_Mariana_Islands"] = 2800, ["Country_data_Norway"] = 72000, ["Country_data_Nova_Scotia"] = 2300, ["Country_data_OMA"] = 2700, ["Country_data_Ohio"] = 4800, ["Country_data_Oman"] = 8600, ["Country_data_Ontario"] = 3800, ["Country_data_Ottoman_Empire"] = 2600, ["Country_data_PAK"] = 7900, ["Country_data_PAN"] = 5600, ["Country_data_PAR"] = 9900, ["Country_data_PER"] = 12000, ["Country_data_PHI"] = 11000, ["Country_data_PHL"] = 2500, ["Country_data_PNG"] = 2600, ["Country_data_POL"] = 49000, ["Country_data_POR"] = 31000, ["Country_data_PRC"] = 2100, ["Country_data_PRK"] = 4600, ["Country_data_PRT"] = 2800, ["Country_data_PUR"] = 7200, ["Country_data_Pakistan"] = 28000, ["Country_data_Palau"] = 3000, ["Country_data_Palestine"] = 6600, ["Country_data_Panama"] = 16000, ["Country_data_Papua_New_Guinea"] = 7900, ["Country_data_Paraguay"] = 20000, ["Country_data_Pennsylvania"] = 3700, ["Country_data_People's_Republic_of_China"] = 3300, ["Country_data_Peru"] = 30000, ["Country_data_Philippines"] = 34000, ["Country_data_Poland"] = 149000, ["Country_data_Portugal"] = 68000, ["Country_data_Prussia"] = 2600, ["Country_data_Puerto_Rico"] = 17000, ["Country_data_QAT"] = 7600, ["Country_data_Qatar"] = 17000, ["Country_data_Quebec"] = 4200, ["Country_data_ROM"] = 13000, ["Country_data_ROU"] = 26000, ["Country_data_RSA"] = 31000, ["Country_data_RUS"] = 62000, ["Country_data_Republic_of_China"] = 5600, ["Country_data_Republic_of_Ireland"] = 25000, ["Country_data_Republic_of_the_Congo"] = 7500, ["Country_data_Romania"] = 68000, ["Country_data_Russia"] = 114000, ["Country_data_Russian_Empire"] = 4800, ["Country_data_Rwanda"] = 7500, ["Country_data_SAM"] = 3100, ["Country_data_SCG"] = 3100, ["Country_data_SCO"] = 26000, ["Country_data_SEN"] = 7900, ["Country_data_SER"] = 3500, ["Country_data_SGP"] = 2600, ["Country_data_SIN"] = 6900, ["Country_data_SLO"] = 19000, ["Country_data_SLV"] = 3000, ["Country_data_SMR"] = 3100, ["Country_data_SPA"] = 4600, ["Country_data_SRB"] = 26000, ["Country_data_SRI"] = 4600, ["Country_data_SUI"] = 42000, ["Country_data_SUR"] = 2000, ["Country_data_SVK"] = 28000, ["Country_data_SVN"] = 6600, ["Country_data_SWE"] = 56000, ["Country_data_SWI"] = 4600, ["Country_data_SYR"] = 3500, ["Country_data_Saint_Kitts_and_Nevis"] = 4700, ["Country_data_Saint_Lucia"] = 4900, ["Country_data_Saint_Vincent_and_the_Grenadines"] = 4800, ["Country_data_Samoa"] = 7700, ["Country_data_San_Marino"] = 8300, ["Country_data_Saskatchewan"] = 2900, ["Country_data_Saudi_Arabia"] = 19000, ["Country_data_Scotland"] = 51000, ["Country_data_Senegal"] = 17000, ["Country_data_Serbia"] = 53000, ["Country_data_Serbia_and_Montenegro"] = 5100, ["Country_data_Seychelles"] = 5400, ["Country_data_Sierra_Leone"] = 7200, ["Country_data_Singapore"] = 27000, ["Country_data_Slovakia"] = 50000, ["Country_data_Slovenia"] = 42000, ["Country_data_Solomon_Islands"] = 4600, ["Country_data_Somalia"] = 6100, ["Country_data_South_Africa"] = 69000, ["Country_data_South_Carolina"] = 3300, ["Country_data_South_Korea"] = 66000, ["Country_data_South_Sudan"] = 4000, ["Country_data_South_Vietnam"] = 2100, ["Country_data_Soviet_Union"] = 36000, ["Country_data_Spain"] = 131000, ["Country_data_Sri_Lanka"] = 19000, ["Country_data_Sudan"] = 7900, ["Country_data_Suriname"] = 6400, ["Country_data_Sweden"] = 100000, ["Country_data_Switzerland"] = 82000, ["Country_data_Syria"] = 15000, ["Country_data_São_Tomé_and_Príncipe"] = 3400, ["Country_data_TAN"] = 2400, ["Country_data_TCH"] = 11000, ["Country_data_THA"] = 21000, ["Country_data_TJK"] = 2600, ["Country_data_TKM"] = 2700, ["Country_data_TPE"] = 15000, ["Country_data_TRI"] = 4700, ["Country_data_TUN"] = 10000, ["Country_data_TUR"] = 27000, ["Country_data_Taiwan"] = 13000, ["Country_data_Tajikistan"] = 8900, ["Country_data_Tanzania"] = 12000, ["Country_data_Texas"] = 5200, ["Country_data_Thailand"] = 44000, ["Country_data_Togo"] = 6900, ["Country_data_Tonga"] = 6400, ["Country_data_Trinidad_and_Tobago"] = 14000, ["Country_data_Tunisia"] = 22000, ["Country_data_Turkey"] = 77000, ["Country_data_Turkmenistan"] = 7800, ["Country_data_Turks_and_Caicos_Islands"] = 2600, ["Country_data_Tuvalu"] = 2800, ["Country_data_U.S."] = 2100, ["Country_data_U.S._Virgin_Islands"] = 4800, ["Country_data_UAE"] = 9100, ["Country_data_UGA"] = 4000, ["Country_data_UK"] = 18000, ["Country_data_UKGBI"] = 3100, ["Country_data_UKR"] = 36000, ["Country_data_URS"] = 14000, ["Country_data_URU"] = 15000, ["Country_data_US"] = 4900, ["Country_data_USA"] = 131000, ["Country_data_USSR"] = 4500, ["Country_data_UZB"] = 11000, ["Country_data_Uganda"] = 13000, ["Country_data_Ukraine"] = 72000, ["Country_data_United_Arab_Emirates"] = 19000, ["Country_data_United_Kingdom"] = 88000, ["Country_data_United_Kingdom_of_Great_Britain_and_Ireland"] = 4400, ["Country_data_United_Nations"] = 4000, ["Country_data_United_States"] = 280000, ["Country_data_United_States_of_America"] = 5000, ["Country_data_Uruguay"] = 29000, ["Country_data_Uzbekistan"] = 20000, ["Country_data_VEN"] = 16000, ["Country_data_VIE"] = 6200, ["Country_data_Vanuatu"] = 5000, ["Country_data_Vatican_City"] = 2300, ["Country_data_Venezuela"] = 32000, ["Country_data_Vietnam"] = 23000, ["Country_data_Virginia"] = 2900, ["Country_data_WAL"] = 17000, ["Country_data_Wales"] = 33000, ["Country_data_Washington"] = 3400, ["Country_data_Washington,_D.C."] = 2200, ["Country_data_Washington_(state)"] = 3700, ["Country_data_West_Germany"] = 24000, ["Country_data_West_Indies"] = 2600, ["Country_data_Wisconsin"] = 5300, ["Country_data_YUG"] = 9700, ["Country_data_Yemen"] = 7700, ["Country_data_Yugoslavia"] = 18000, ["Country_data_ZAF"] = 4600, ["Country_data_ZAM"] = 3200, ["Country_data_ZIM"] = 8200, ["Country_data_Zambia"] = 9500, ["Country_data_Zimbabwe"] = 17000, ["Country_flagbio"] = 27000, ["Country_name"] = 23000, ["Country_showdata"] = 6100, ["Country_topics"] = 22000, ["County"] = 6500, ["County_(judet)_of_Romania"] = 3300, ["Course_assignment"] = 4200, ["Course_details"] = 6100, ["Course_instructor"] = 2400, ["Cquote"] = 37000, ["Cr"] = 4200, ["Cr-rt"] = 2000, ["Create_taxonomy/link"] = 106000, ["Cref2"] = 2300, ["Cricinfo"] = 24000, ["Cricketarchive"] = 2900, ["Crime_opentask"] = 48000, ["Croatian_Census_2011"] = 2100, ["Cross"] = 3200, ["Crossreference"] = 2500, ["Crossreference/styles.css"] = 2500, ["Csv"] = 3000, ["Ct"] = 12000, ["Curlie"] = 6800, ["Currency"] = 3500, ["Current_events"] = 8200, ["Current_events/styles.css"] = 8200, ["Currentdate"] = 22000, ["Cvt"] = 101000, ["Cycling_Archives"] = 4300, ["Cycling_archives"] = 2600, ["Cycling_data_LTS"] = 2100, ["Cycling_team_link"] = 12000, ["Module:CFB_schedule"] = 26000, ["Module:CallAssert"] = 240000, ["Module:CanElecResTopTest"] = 5700, ["Module:CanadaByProvinceCatNav"] = 9800, ["Module:Cat_main"] = 197000, ["Module:Catalog_lookup_link"] = 513000, ["Module:Category_described_in_year"] = 5700, ["Module:Category_described_in_year/conf"] = 5700, ["Module:Category_handler"] = 4410000, ["Module:Category_handler/blacklist"] = 4410000, ["Module:Category_handler/config"] = 4410000, ["Module:Category_handler/data"] = 4410000, ["Module:Category_handler/shared"] = 4410000, ["Module:Category_more_if_exists"] = 41000, ["Module:Category_pair"] = 6100, ["Module:Category_see_also"] = 39000, ["Module:Celestial_object_quadrangle"] = 2300, ["Module:Check_DYK_hook"] = 114000, ["Module:Check_for_clobbered_parameters"] = 1200000, ["Module:Check_for_deprecated_parameters"] = 59000, ["Module:Check_for_unknown_parameters"] = 15900000, ["Module:Check_isxn"] = 480000, ["Module:Check_winner_by_scores"] = 13000, ["Module:Checkuser"] = 75000, ["Module:Chem2"] = 4500, ["Module:Chem2/styles.css"] = 4500, ["Module:Citation/CS1"] = 5540000, ["Module:Citation/CS1/COinS"] = 5540000, ["Module:Citation/CS1/Configuration"] = 5540000, ["Module:Citation/CS1/Date_validation"] = 5540000, ["Module:Citation/CS1/Identifiers"] = 5540000, ["Module:Citation/CS1/Suggestions"] = 26000, ["Module:Citation/CS1/Utilities"] = 5540000, ["Module:Citation/CS1/Whitelist"] = 5540000, ["Module:Citation/CS1/styles.css"] = 5680000, ["Module:Cite_Q"] = 43000, ["Module:Cite_iucn"] = 57000, ["Module:Cite_tweet"] = 35000, ["Module:Cite_web"] = 39000, ["Module:Clade"] = 7500, ["Module:Class"] = 8910000, ["Module:Class/definition.json"] = 8910000, ["Module:Class/styles.css"] = 8840000, ["Module:Class_mask"] = 10100000, ["Module:Clickable_button_2"] = 952000, ["Module:Collapsible_list"] = 54000, ["Module:College_color"] = 126000, ["Module:College_color/data"] = 126000, ["Module:Color_contrast"] = 498000, ["Module:Color_contrast/colors"] = 500000, ["Module:Commons_link"] = 254000, ["Module:Complex_date"] = 65000, ["Module:Convert"] = 1220000, ["Module:Convert/data"] = 1220000, ["Module:Convert/helper"] = 8300, ["Module:Convert/text"] = 1220000, ["Module:Convert/wikidata"] = 3300, ["Module:Convert/wikidata/data"] = 3300, ["Module:ConvertNumeric"] = 15000, ["Module:Convert_character_width"] = 2800, ["Module:Convert_character_width/data"] = 2800, ["Module:Coordinates"] = 1330000, ["Module:Coordinates/styles.css"] = 1330000, ["Module:Copied"] = 18000, ["Module:CountryAdjectiveDemonym"] = 44000, ["Module:CountryAdjectiveDemonym/Adjectives"] = 44000, ["Module:CountryAdjectiveDemonym/Demonyms"] = 44000, ["Module:CountryAdjectiveDemonym/The"] = 44000, ["Module:CountryData"] = 142000, ["Module:CountryData/cacheA"] = 12000, ["Module:CountryData/cacheB"] = 8200, ["Module:CountryData/cacheC"] = 12000, ["Module:CountryData/cacheD"] = 4500, ["Module:CountryData/cacheE"] = 2700, ["Module:CountryData/cacheF"] = 2600, ["Module:CountryData/cacheG"] = 2700, ["Module:CountryData/summary"] = 142000, ["Module:Country_adjective"] = 4300, ["Module:Country_alias"] = 51000, ["Module:Country_alias/data"] = 51000, ["Module:Currency"] = 3500, ["Module:Currency/Presentation"] = 3500, } 1c16dd4710f362248710a05753cec4c42caf3bee 6 88 877 2023-06-09T14:25:20Z Matrim112830 2 wikitext text/x-wiki A zine about the legacy of the founders statue at TCU 81e3f596c8f5b1b51731f96e7e73169ff0e431ff 0 51 878 361 2023-06-09T14:25:37Z Matrim112830 2 wikitext text/x-wiki The TCU Founders Statue (formal title) WIP https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/ [[File:Founders Statue Zine.pdf|thumb]] == XXXX == == YYYY == == ZZZZZ == == Notes == == References == <references/> 9e355023c3ad0610aea8242c843c622d082a8c30 880 878 2023-06-09T14:31:14Z Matrim112830 2 wikitext text/x-wiki The TCU Founders Statue (formal title) WIP [[File:Founders Statue.jpg|frame]] https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/ [[File:Founders Statue Zine.pdf|thumb]] == XXXX == == YYYY == == ZZZZZ == == Notes == == References == <references/> 5b8ff1597fade4d86011430beddb414d1b632a65 881 880 2023-06-09T14:32:53Z Matrim112830 2 wikitext text/x-wiki The TCU Founders Statue (formal title) WIP [[File:Founders Statue.jpg|thumb]] https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/ [[File:Founders Statue Zine.pdf|thumb]] == XXXX == == YYYY == == ZZZZZ == == Notes == == References == <references/> c6f83746b8a0decfb3f9fdf358a2ba20cc6b8589 882 881 2023-06-09T14:34:54Z Matrim112830 2 wikitext text/x-wiki [[|thumb|kj;lj;lkj]] The TCU Founders Statue (formal title) WIP [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/ [[File:Founders Statue Zine.pdf|thumb]] == XXXX == == YYYY == == ZZZZZ == == Notes == == References == <references/> 82513fd6a6c4fc06ca00edef3556646b3bb398c4 6 89 879 2023-06-09T14:30:55Z Matrim112830 2 wikitext text/x-wiki A drawing of the back of the TCU Founders Statue. 74c0d88feef684206b5c5339dbec4cf422798ab9 0 51 883 882 2023-06-09T14:35:12Z Matrim112830 2 wikitext text/x-wiki The TCU Founders Statue (formal title) WIP [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/ [[File:Founders Statue Zine.pdf|thumb]] == XXXX == == YYYY == == ZZZZZ == == Notes == == References == <references/> 77b356a3a76611b69195e09d906d399eec0a3287 884 883 2023-06-09T14:47:30Z Matrim112830 2 wikitext text/x-wiki The TCU Founders Statue (formal title) WIP [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] A statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/ https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/ [[File:Founders Statue Zine.pdf|thumb]] == XXXX == == YYYY == == ZZZZZ == == Notes == == References == <references/> 76f7340f93d1492c49d1e7213b9f8221793b65fa 885 884 2023-06-09T14:48:19Z Matrim112830 2 wikitext text/x-wiki The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] asdfdas https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/ https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/ [[File:Founders Statue Zine.pdf|thumb]] == XXXX == == YYYY == == ZZZZZ == == Notes == == References == <references/> 5249ee30170e78bbaf0cfc9623e3d340bc27e303 886 885 2023-06-09T14:48:45Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> asdfdas https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/ https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/ [[File:Founders Statue Zine.pdf|thumb]] == XXXX == == YYYY == == ZZZZZ == == Notes == == References == <references/> ec023babe1a7540457c5d4ae48106127e27adf5b 887 886 2023-06-09T15:26:05Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/ https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/ [[File:Founders Statue Zine.pdf|thumb]] == YYYY == == ZZZZZ == == Notes == == References == <references/> 11a34634a23db741152d17d1b642df698ad46035 888 887 2023-06-09T15:44:12Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. [[File:Founders Statue Zine.pdf|thumb]] == YYYY == == ZZZZZ == == Notes == == References == <references/> df37a3ae4d957797cbe0c2882bc9d1b763406985 889 888 2023-06-09T15:54:32Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> [[File:Founders Statue Zine.pdf|thumb]] == YYYY == == ZZZZZ == == Notes == == References == <references/> d022fbc738b8d7c684921cdb3c78fff85528c472 890 889 2023-06-09T16:06:13Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> [[File:Founders Statue Zine.pdf|thumb]] == YYYY == == ZZZZZ == == Notes == == References == <references/> 67b8afc30ebee28d72b5aee4f1a20a384e0b0f93 891 890 2023-06-09T16:07:33Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> [[File:Founders Statue Zine.pdf|thumb]] == YYYY == == ZZZZZ == == Notes == == References == <references/> 16eb52bcce676b61ccbf7492902c481044704496 892 891 2023-06-09T16:37:04Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref> <ref>https://www.tcu.edu/about/mission-history.php</ref>" <ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> [[File:Founders Statue Zine.pdf|thumb]] == YYYY == == ZZZZZ == == Notes == == References == <references/> 579546e1ec7f951f57466bf83dfbf85c75105e12 893 892 2023-06-09T16:37:58Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> [[File:Founders Statue Zine.pdf|thumb]] == YYYY == == ZZZZZ == == Notes == == References == <references/> eaffb31bf6c5bde7f221bab27df68518d975db5c 894 893 2023-06-09T16:39:58Z Matrim112830 2 /* YYYY */ wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> [[File:Founders Statue Zine.pdf|thumb]] == Black Lives Matter == == ZZZZZ == == Notes == == References == <references/> 1617b1fefbcfa7f5a3b9ef357f6469b4434ce4ac 895 894 2023-06-09T16:40:20Z Matrim112830 2 /* ZZZZZ */ wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> [[File:Founders Statue Zine.pdf|thumb]] == Black Lives Matter == == Founders Statue Zine == == Notes == == References == <references/> 02036b9dd9a8eec83bb6d8b1d7d63436a483dfc1 896 895 2023-06-09T16:40:51Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]] TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> 7790418ed6a8258da63ac93915077e886e9f1692 897 896 2023-06-09T16:41:15Z Matrim112830 2 /* Founders Statue Zine */ wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> 4a1add19619bbc0de7574480249f93c063588191 898 897 2023-06-09T17:08:20Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”. </blockquote> <ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> eb672bc6bf8c5460863691fa0ae647c596580250 899 898 2023-06-09T17:08:52Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> 85edf4aa7f9be6437c5f353a925477b45d244abe 900 899 2023-06-09T17:16:25Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue <note>is this a note</note>is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> c1ce3bc6a236e2b17949cffea29f0206526e846f 901 900 2023-06-09T17:16:49Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue <note> is this a note </note> is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> f6539c3777685eb88b1ac8e409265b951e28c6bf 902 901 2023-06-09T17:17:10Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue {note> is this a note </note>} is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> c37342ef75e3a1d759f9e8589c863f94c9649848 903 902 2023-06-09T17:17:41Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue {{note|id|label|text}} is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> dc97a36a9193366cbbcedafe7869b63443926b9d 10 90 905 904 2023-06-09T18:09:43Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Citation_needed]] wikitext text/x-wiki {{ {{{|safesubst:}}}#invoke:Unsubst||date=__DATE__ |$B= {{Fix |name={{{name|Citation needed}}} |link=Wikipedia:Citation needed |text=citation needed |class=Template-Fact |title={{{reason|This claim needs references to reliable sources.}}} |date={{{date|}}} |cat=[[Category:All articles with unsourced statements]] |cat-date=Category:Articles with unsourced statements }}{{#invoke:Check for unknown parameters|check|unknown={{main other|[[Category:Pages containing citation needed template with unsupported parameters|_VALUE_{{PAGENAME}}]]}}|preview=Page using [[Template:Citation needed]] with unknown parameter "_VALUE_"|ignoreblank=y| date | name | reason }}}}<noinclude> {{Documentation}} </noinclude> 0da00647cf516584566df3fd518b1d55696e4b25 828 91 907 906 2023-06-09T18:09:44Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Yesno]] Scribunto text/plain -- Function allowing for consistent treatment of boolean-like wikitext input. -- It works similarly to the template {{yesno}}. return function (val, default) -- If your wiki uses non-ascii characters for any of "yes", "no", etc., you -- should replace "val:lower()" with "mw.ustring.lower(val)" in the -- following line. val = type(val) == 'string' and val:lower() or val if val == nil then return nil elseif val == true or val == 'yes' or val == 'y' or val == 'true' or val == 't' or val == 'on' or tonumber(val) == 1 then return true elseif val == false or val == 'no' or val == 'n' or val == 'false' or val == 'f' or val == 'off' or tonumber(val) == 0 then return false else return default end end f767643e7d12126d020d88d662a3dd057817b9dc 828 92 909 908 2023-06-09T18:09:44Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Arguments]] Scribunto text/plain -- This module provides easy processing of arguments passed to Scribunto from -- #invoke. It is intended for use by other Lua modules, and should not be -- called from #invoke directly. local libraryUtil = require('libraryUtil') local checkType = libraryUtil.checkType local arguments = {} -- Generate four different tidyVal functions, so that we don't have to check the -- options every time we call it. local function tidyValDefault(key, val) if type(val) == 'string' then val = val:match('^%s*(.-)%s*$') if val == '' then return nil else return val end else return val end end local function tidyValTrimOnly(key, val) if type(val) == 'string' then return val:match('^%s*(.-)%s*$') else return val end end local function tidyValRemoveBlanksOnly(key, val) if type(val) == 'string' then if val:find('%S') then return val else return nil end else return val end end local function tidyValNoChange(key, val) return val end local function matchesTitle(given, title) local tp = type( given ) return (tp == 'string' or tp == 'number') and mw.title.new( given ).prefixedText == title end local translate_mt = { __index = function(t, k) return k end } function arguments.getArgs(frame, options) checkType('getArgs', 1, frame, 'table', true) checkType('getArgs', 2, options, 'table', true) frame = frame or {} options = options or {} --[[ -- Set up argument translation. --]] options.translate = options.translate or {} if getmetatable(options.translate) == nil then setmetatable(options.translate, translate_mt) end if options.backtranslate == nil then options.backtranslate = {} for k,v in pairs(options.translate) do options.backtranslate[v] = k end end if options.backtranslate and getmetatable(options.backtranslate) == nil then setmetatable(options.backtranslate, { __index = function(t, k) if options.translate[k] ~= k then return nil else return k end end }) end --[[ -- Get the argument tables. If we were passed a valid frame object, get the -- frame arguments (fargs) and the parent frame arguments (pargs), depending -- on the options set and on the parent frame's availability. If we weren't -- passed a valid frame object, we are being called from another Lua module -- or from the debug console, so assume that we were passed a table of args -- directly, and assign it to a new variable (luaArgs). --]] local fargs, pargs, luaArgs if type(frame.args) == 'table' and type(frame.getParent) == 'function' then if options.wrappers then --[[ -- The wrappers option makes Module:Arguments look up arguments in -- either the frame argument table or the parent argument table, but -- not both. This means that users can use either the #invoke syntax -- or a wrapper template without the loss of performance associated -- with looking arguments up in both the frame and the parent frame. -- Module:Arguments will look up arguments in the parent frame -- if it finds the parent frame's title in options.wrapper; -- otherwise it will look up arguments in the frame object passed -- to getArgs. --]] local parent = frame:getParent() if not parent then fargs = frame.args else local title = parent:getTitle():gsub('/sandbox$', '') local found = false if matchesTitle(options.wrappers, title) then found = true elseif type(options.wrappers) == 'table' then for _,v in pairs(options.wrappers) do if matchesTitle(v, title) then found = true break end end end -- We test for false specifically here so that nil (the default) acts like true. if found or options.frameOnly == false then pargs = parent.args end if not found or options.parentOnly == false then fargs = frame.args end end else -- options.wrapper isn't set, so check the other options. if not options.parentOnly then fargs = frame.args end if not options.frameOnly then local parent = frame:getParent() pargs = parent and parent.args or nil end end if options.parentFirst then fargs, pargs = pargs, fargs end else luaArgs = frame end -- Set the order of precedence of the argument tables. If the variables are -- nil, nothing will be added to the table, which is how we avoid clashes -- between the frame/parent args and the Lua args. local argTables = {fargs} argTables[#argTables + 1] = pargs argTables[#argTables + 1] = luaArgs --[[ -- Generate the tidyVal function. If it has been specified by the user, we -- use that; if not, we choose one of four functions depending on the -- options chosen. This is so that we don't have to call the options table -- every time the function is called. --]] local tidyVal = options.valueFunc if tidyVal then if type(tidyVal) ~= 'function' then error( "bad value assigned to option 'valueFunc'" .. '(function expected, got ' .. type(tidyVal) .. ')', 2 ) end elseif options.trim ~= false then if options.removeBlanks ~= false then tidyVal = tidyValDefault else tidyVal = tidyValTrimOnly end else if options.removeBlanks ~= false then tidyVal = tidyValRemoveBlanksOnly else tidyVal = tidyValNoChange end end --[[ -- Set up the args, metaArgs and nilArgs tables. args will be the one -- accessed from functions, and metaArgs will hold the actual arguments. Nil -- arguments are memoized in nilArgs, and the metatable connects all of them -- together. --]] local args, metaArgs, nilArgs, metatable = {}, {}, {}, {} setmetatable(args, metatable) local function mergeArgs(tables) --[[ -- Accepts multiple tables as input and merges their keys and values -- into one table. If a value is already present it is not overwritten; -- tables listed earlier have precedence. We are also memoizing nil -- values, which can be overwritten if they are 's' (soft). --]] for _, t in ipairs(tables) do for key, val in pairs(t) do if metaArgs[key] == nil and nilArgs[key] ~= 'h' then local tidiedVal = tidyVal(key, val) if tidiedVal == nil then nilArgs[key] = 's' else metaArgs[key] = tidiedVal end end end end end --[[ -- Define metatable behaviour. Arguments are memoized in the metaArgs table, -- and are only fetched from the argument tables once. Fetching arguments -- from the argument tables is the most resource-intensive step in this -- module, so we try and avoid it where possible. For this reason, nil -- arguments are also memoized, in the nilArgs table. Also, we keep a record -- in the metatable of when pairs and ipairs have been called, so we do not -- run pairs and ipairs on the argument tables more than once. We also do -- not run ipairs on fargs and pargs if pairs has already been run, as all -- the arguments will already have been copied over. --]] metatable.__index = function (t, key) --[[ -- Fetches an argument when the args table is indexed. First we check -- to see if the value is memoized, and if not we try and fetch it from -- the argument tables. When we check memoization, we need to check -- metaArgs before nilArgs, as both can be non-nil at the same time. -- If the argument is not present in metaArgs, we also check whether -- pairs has been run yet. If pairs has already been run, we return nil. -- This is because all the arguments will have already been copied into -- metaArgs by the mergeArgs function, meaning that any other arguments -- must be nil. --]] if type(key) == 'string' then key = options.translate[key] end local val = metaArgs[key] if val ~= nil then return val elseif metatable.donePairs or nilArgs[key] then return nil end for _, argTable in ipairs(argTables) do local argTableVal = tidyVal(key, argTable[key]) if argTableVal ~= nil then metaArgs[key] = argTableVal return argTableVal end end nilArgs[key] = 'h' return nil end metatable.__newindex = function (t, key, val) -- This function is called when a module tries to add a new value to the -- args table, or tries to change an existing value. if type(key) == 'string' then key = options.translate[key] end if options.readOnly then error( 'could not write to argument table key "' .. tostring(key) .. '"; the table is read-only', 2 ) elseif options.noOverwrite and args[key] ~= nil then error( 'could not write to argument table key "' .. tostring(key) .. '"; overwriting existing arguments is not permitted', 2 ) elseif val == nil then --[[ -- If the argument is to be overwritten with nil, we need to erase -- the value in metaArgs, so that __index, __pairs and __ipairs do -- not use a previous existing value, if present; and we also need -- to memoize the nil in nilArgs, so that the value isn't looked -- up in the argument tables if it is accessed again. --]] metaArgs[key] = nil nilArgs[key] = 'h' else metaArgs[key] = val end end local function translatenext(invariant) local k, v = next(invariant.t, invariant.k) invariant.k = k if k == nil then return nil elseif type(k) ~= 'string' or not options.backtranslate then return k, v else local backtranslate = options.backtranslate[k] if backtranslate == nil then -- Skip this one. This is a tail call, so this won't cause stack overflow return translatenext(invariant) else return backtranslate, v end end end metatable.__pairs = function () -- Called when pairs is run on the args table. if not metatable.donePairs then mergeArgs(argTables) metatable.donePairs = true end return translatenext, { t = metaArgs } end local function inext(t, i) -- This uses our __index metamethod local v = t[i + 1] if v ~= nil then return i + 1, v end end metatable.__ipairs = function (t) -- Called when ipairs is run on the args table. return inext, t, 0 end return args end return arguments 3134ecce8429b810d445e29eae115e2ae4c36c53 10 93 911 910 2023-06-09T18:09:45Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Mbox]] wikitext text/x-wiki {{#invoke:Message box|mbox}}<noinclude> {{documentation}} <!-- Add categories to the /doc subpage; interwikis go to Wikidata, thank you! --> </noinclude> 5bfb2becf8bed35974b47e3ff8660dc14bee40c7 10 94 913 912 2023-06-09T18:09:45Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Tl]] wikitext text/x-wiki #REDIRECT [[Template:Template link]] {{Redirect category shell| {{R from move}} }} d6593bb3b4a866249f55d0f34b047a71fe1f1529 10 95 915 914 2023-06-09T18:09:46Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Template_link]] wikitext text/x-wiki &#123;&#123;[[Template:{{{1}}}|{{{1}}}]]&#125;&#125;<noinclude>{{documentation}} <!-- Categories go on the /doc subpage and interwikis go on Wikidata. --> </noinclude> eabbec62efe3044a98ebb3ce9e7d4d43c222351d 828 96 917 916 2023-06-09T18:09:47Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Message_box]] Scribunto text/plain require('strict') local getArgs local yesno = require('Module:Yesno') local lang = mw.language.getContentLanguage() local CONFIG_MODULE = 'Module:Message box/configuration' local DEMOSPACES = {talk = 'tmbox', image = 'imbox', file = 'imbox', category = 'cmbox', article = 'ambox', main = 'ambox'} -------------------------------------------------------------------------------- -- Helper functions -------------------------------------------------------------------------------- local function getTitleObject(...) -- Get the title object, passing the function through pcall -- in case we are over the expensive function count limit. local success, title = pcall(mw.title.new, ...) if success then return title end end local function union(t1, t2) -- Returns the union of two arrays. local vals = {} for i, v in ipairs(t1) do vals[v] = true end for i, v in ipairs(t2) do vals[v] = true end local ret = {} for k in pairs(vals) do table.insert(ret, k) end table.sort(ret) return ret end local function getArgNums(args, prefix) local nums = {} for k, v in pairs(args) do local num = mw.ustring.match(tostring(k), '^' .. prefix .. '([1-9]%d*)$') if num then table.insert(nums, tonumber(num)) end end table.sort(nums) return nums end -------------------------------------------------------------------------------- -- Box class definition -------------------------------------------------------------------------------- local MessageBox = {} MessageBox.__index = MessageBox function MessageBox.new(boxType, args, cfg) args = args or {} local obj = {} -- Set the title object and the namespace. obj.title = getTitleObject(args.page) or mw.title.getCurrentTitle() -- Set the config for our box type. obj.cfg = cfg[boxType] if not obj.cfg then local ns = obj.title.namespace -- boxType is "mbox" or invalid input if args.demospace and args.demospace ~= '' then -- implement demospace parameter of mbox local demospace = string.lower(args.demospace) if DEMOSPACES[demospace] then -- use template from DEMOSPACES obj.cfg = cfg[DEMOSPACES[demospace]] elseif string.find( demospace, 'talk' ) then -- demo as a talk page obj.cfg = cfg.tmbox else -- default to ombox obj.cfg = cfg.ombox end elseif ns == 0 then obj.cfg = cfg.ambox -- main namespace elseif ns == 6 then obj.cfg = cfg.imbox -- file namespace elseif ns == 14 then obj.cfg = cfg.cmbox -- category namespace else local nsTable = mw.site.namespaces[ns] if nsTable and nsTable.isTalk then obj.cfg = cfg.tmbox -- any talk namespace else obj.cfg = cfg.ombox -- other namespaces or invalid input end end end -- Set the arguments, and remove all blank arguments except for the ones -- listed in cfg.allowBlankParams. do local newArgs = {} for k, v in pairs(args) do if v ~= '' then newArgs[k] = v end end for i, param in ipairs(obj.cfg.allowBlankParams or {}) do newArgs[param] = args[param] end obj.args = newArgs end -- Define internal data structure. obj.categories = {} obj.classes = {} -- For lazy loading of [[Module:Category handler]]. obj.hasCategories = false return setmetatable(obj, MessageBox) end function MessageBox:addCat(ns, cat, sort) if not cat then return nil end if sort then cat = string.format('[[Category:%s|%s]]', cat, sort) else cat = string.format('[[Category:%s]]', cat) end self.hasCategories = true self.categories[ns] = self.categories[ns] or {} table.insert(self.categories[ns], cat) end function MessageBox:addClass(class) if not class then return nil end table.insert(self.classes, class) end function MessageBox:setParameters() local args = self.args local cfg = self.cfg -- Get type data. self.type = args.type local typeData = cfg.types[self.type] self.invalidTypeError = cfg.showInvalidTypeError and self.type and not typeData typeData = typeData or cfg.types[cfg.default] self.typeClass = typeData.class self.typeImage = typeData.image -- Find if the box has been wrongly substituted. self.isSubstituted = cfg.substCheck and args.subst == 'SUBST' -- Find whether we are using a small message box. self.isSmall = cfg.allowSmall and ( cfg.smallParam and args.small == cfg.smallParam or not cfg.smallParam and yesno(args.small) ) -- Add attributes, classes and styles. self.id = args.id self.name = args.name if self.name then self:addClass('box-' .. string.gsub(self.name,' ','_')) end if yesno(args.plainlinks) ~= false then self:addClass('plainlinks') end for _, class in ipairs(cfg.classes or {}) do self:addClass(class) end if self.isSmall then self:addClass(cfg.smallClass or 'mbox-small') end self:addClass(self.typeClass) self:addClass(args.class) self.style = args.style self.attrs = args.attrs -- Set text style. self.textstyle = args.textstyle -- Find if we are on the template page or not. This functionality is only -- used if useCollapsibleTextFields is set, or if both cfg.templateCategory -- and cfg.templateCategoryRequireName are set. self.useCollapsibleTextFields = cfg.useCollapsibleTextFields if self.useCollapsibleTextFields or cfg.templateCategory and cfg.templateCategoryRequireName then if self.name then local templateName = mw.ustring.match( self.name, '^[tT][eE][mM][pP][lL][aA][tT][eE][%s_]*:[%s_]*(.*)$' ) or self.name templateName = 'Template:' .. templateName self.templateTitle = getTitleObject(templateName) end self.isTemplatePage = self.templateTitle and mw.title.equals(self.title, self.templateTitle) end -- Process data for collapsible text fields. At the moment these are only -- used in {{ambox}}. if self.useCollapsibleTextFields then -- Get the self.issue value. if self.isSmall and args.smalltext then self.issue = args.smalltext else local sect if args.sect == '' then sect = 'This ' .. (cfg.sectionDefault or 'page') elseif type(args.sect) == 'string' then sect = 'This ' .. args.sect end local issue = args.issue issue = type(issue) == 'string' and issue ~= '' and issue or nil local text = args.text text = type(text) == 'string' and text or nil local issues = {} table.insert(issues, sect) table.insert(issues, issue) table.insert(issues, text) self.issue = table.concat(issues, ' ') end -- Get the self.talk value. local talk = args.talk -- Show talk links on the template page or template subpages if the talk -- parameter is blank. if talk == '' and self.templateTitle and ( mw.title.equals(self.templateTitle, self.title) or self.title:isSubpageOf(self.templateTitle) ) then talk = '#' elseif talk == '' then talk = nil end if talk then -- If the talk value is a talk page, make a link to that page. Else -- assume that it's a section heading, and make a link to the talk -- page of the current page with that section heading. local talkTitle = getTitleObject(talk) local talkArgIsTalkPage = true if not talkTitle or not talkTitle.isTalkPage then talkArgIsTalkPage = false talkTitle = getTitleObject( self.title.text, mw.site.namespaces[self.title.namespace].talk.id ) end if talkTitle and talkTitle.exists then local talkText if self.isSmall then local talkLink = talkArgIsTalkPage and talk or (talkTitle.prefixedText .. '#' .. talk) talkText = string.format('([[%s|talk]])', talkLink) else talkText = 'Relevant discussion may be found on' if talkArgIsTalkPage then talkText = string.format( '%s [[%s|%s]].', talkText, talk, talkTitle.prefixedText ) else talkText = string.format( '%s the [[%s#%s|talk page]].', talkText, talkTitle.prefixedText, talk ) end end self.talk = talkText end end -- Get other values. self.fix = args.fix ~= '' and args.fix or nil local date if args.date and args.date ~= '' then date = args.date elseif args.date == '' and self.isTemplatePage then date = lang:formatDate('F Y') end if date then self.date = string.format(" <span class='date-container'><i>(<span class='date'>%s</span>)</i></span>", date) end self.info = args.info if yesno(args.removalnotice) then self.removalNotice = cfg.removalNotice end end -- Set the non-collapsible text field. At the moment this is used by all box -- types other than ambox, and also by ambox when small=yes. if self.isSmall then self.text = args.smalltext or args.text else self.text = args.text end -- Set the below row. self.below = cfg.below and args.below -- General image settings. self.imageCellDiv = not self.isSmall and cfg.imageCellDiv self.imageEmptyCell = cfg.imageEmptyCell -- Left image settings. local imageLeft = self.isSmall and args.smallimage or args.image if cfg.imageCheckBlank and imageLeft ~= 'blank' and imageLeft ~= 'none' or not cfg.imageCheckBlank and imageLeft ~= 'none' then self.imageLeft = imageLeft if not imageLeft then local imageSize = self.isSmall and (cfg.imageSmallSize or '30x30px') or '40x40px' self.imageLeft = string.format('[[File:%s|%s|link=|alt=]]', self.typeImage or 'Imbox notice.png', imageSize) end end -- Right image settings. local imageRight = self.isSmall and args.smallimageright or args.imageright if not (cfg.imageRightNone and imageRight == 'none') then self.imageRight = imageRight end -- set templatestyles self.base_templatestyles = cfg.templatestyles self.templatestyles = args.templatestyles end function MessageBox:setMainspaceCategories() local args = self.args local cfg = self.cfg if not cfg.allowMainspaceCategories then return nil end local nums = {} for _, prefix in ipairs{'cat', 'category', 'all'} do args[prefix .. '1'] = args[prefix] nums = union(nums, getArgNums(args, prefix)) end -- The following is roughly equivalent to the old {{Ambox/category}}. local date = args.date date = type(date) == 'string' and date local preposition = 'from' for _, num in ipairs(nums) do local mainCat = args['cat' .. tostring(num)] or args['category' .. tostring(num)] local allCat = args['all' .. tostring(num)] mainCat = type(mainCat) == 'string' and mainCat allCat = type(allCat) == 'string' and allCat if mainCat and date and date ~= '' then local catTitle = string.format('%s %s %s', mainCat, preposition, date) self:addCat(0, catTitle) catTitle = getTitleObject('Category:' .. catTitle) if not catTitle or not catTitle.exists then self:addCat(0, 'Articles with invalid date parameter in template') end elseif mainCat and (not date or date == '') then self:addCat(0, mainCat) end if allCat then self:addCat(0, allCat) end end end function MessageBox:setTemplateCategories() local args = self.args local cfg = self.cfg -- Add template categories. if cfg.templateCategory then if cfg.templateCategoryRequireName then if self.isTemplatePage then self:addCat(10, cfg.templateCategory) end elseif not self.title.isSubpage then self:addCat(10, cfg.templateCategory) end end -- Add template error categories. if cfg.templateErrorCategory then local templateErrorCategory = cfg.templateErrorCategory local templateCat, templateSort if not self.name and not self.title.isSubpage then templateCat = templateErrorCategory elseif self.isTemplatePage then local paramsToCheck = cfg.templateErrorParamsToCheck or {} local count = 0 for i, param in ipairs(paramsToCheck) do if not args[param] then count = count + 1 end end if count > 0 then templateCat = templateErrorCategory templateSort = tostring(count) end if self.categoryNums and #self.categoryNums > 0 then templateCat = templateErrorCategory templateSort = 'C' end end self:addCat(10, templateCat, templateSort) end end function MessageBox:setAllNamespaceCategories() -- Set categories for all namespaces. if self.invalidTypeError then local allSort = (self.title.namespace == 0 and 'Main:' or '') .. self.title.prefixedText self:addCat('all', 'Wikipedia message box parameter needs fixing', allSort) end if self.isSubstituted then self:addCat('all', 'Pages with incorrectly substituted templates') end end function MessageBox:setCategories() if self.title.namespace == 0 then self:setMainspaceCategories() elseif self.title.namespace == 10 then self:setTemplateCategories() end self:setAllNamespaceCategories() end function MessageBox:renderCategories() if not self.hasCategories then -- No categories added, no need to pass them to Category handler so, -- if it was invoked, it would return the empty string. -- So we shortcut and return the empty string. return "" end -- Convert category tables to strings and pass them through -- [[Module:Category handler]]. return require('Module:Category handler')._main{ main = table.concat(self.categories[0] or {}), template = table.concat(self.categories[10] or {}), all = table.concat(self.categories.all or {}), nocat = self.args.nocat, page = self.args.page } end function MessageBox:export() local root = mw.html.create() -- Add the subst check error. if self.isSubstituted and self.name then root:tag('b') :addClass('error') :wikitext(string.format( 'Template <code>%s[[Template:%s|%s]]%s</code> has been incorrectly substituted.', mw.text.nowiki('{{'), self.name, self.name, mw.text.nowiki('}}') )) end local frame = mw.getCurrentFrame() root:wikitext(frame:extensionTag{ name = 'templatestyles', args = { src = self.base_templatestyles }, }) -- Add support for a single custom templatestyles sheet. Undocumented as -- need should be limited and many templates using mbox are substed; we -- don't want to spread templatestyles sheets around to arbitrary places if self.templatestyles then root:wikitext(frame:extensionTag{ name = 'templatestyles', args = { src = self.templatestyles }, }) end -- Create the box table. local boxTable = root:tag('table') boxTable:attr('id', self.id or nil) for i, class in ipairs(self.classes or {}) do boxTable:addClass(class or nil) end boxTable :cssText(self.style or nil) :attr('role', 'presentation') if self.attrs then boxTable:attr(self.attrs) end -- Add the left-hand image. local row = boxTable:tag('tr') if self.imageLeft then local imageLeftCell = row:tag('td'):addClass('mbox-image') if self.imageCellDiv then -- If we are using a div, redefine imageLeftCell so that the image -- is inside it. Divs use style="width: 52px;", which limits the -- image width to 52px. If any images in a div are wider than that, -- they may overlap with the text or cause other display problems. imageLeftCell = imageLeftCell:tag('div'):addClass('mbox-image-div') end imageLeftCell:wikitext(self.imageLeft or nil) elseif self.imageEmptyCell then -- Some message boxes define an empty cell if no image is specified, and -- some don't. The old template code in templates where empty cells are -- specified gives the following hint: "No image. Cell with some width -- or padding necessary for text cell to have 100% width." row:tag('td') :addClass('mbox-empty-cell') end -- Add the text. local textCell = row:tag('td'):addClass('mbox-text') if self.useCollapsibleTextFields then -- The message box uses advanced text parameters that allow things to be -- collapsible. At the moment, only ambox uses this. textCell:cssText(self.textstyle or nil) local textCellDiv = textCell:tag('div') textCellDiv :addClass('mbox-text-span') :wikitext(self.issue or nil) if (self.talk or self.fix) then textCellDiv:tag('span') :addClass('hide-when-compact') :wikitext(self.talk and (' ' .. self.talk) or nil) :wikitext(self.fix and (' ' .. self.fix) or nil) end textCellDiv:wikitext(self.date and (' ' .. self.date) or nil) if self.info and not self.isSmall then textCellDiv :tag('span') :addClass('hide-when-compact') :wikitext(self.info and (' ' .. self.info) or nil) end if self.removalNotice then textCellDiv:tag('span') :addClass('hide-when-compact') :tag('i') :wikitext(string.format(" (%s)", self.removalNotice)) end else -- Default text formatting - anything goes. textCell :cssText(self.textstyle or nil) :wikitext(self.text or nil) end -- Add the right-hand image. if self.imageRight then local imageRightCell = row:tag('td'):addClass('mbox-imageright') if self.imageCellDiv then -- If we are using a div, redefine imageRightCell so that the image -- is inside it. imageRightCell = imageRightCell:tag('div'):addClass('mbox-image-div') end imageRightCell :wikitext(self.imageRight or nil) end -- Add the below row. if self.below then boxTable:tag('tr') :tag('td') :attr('colspan', self.imageRight and '3' or '2') :addClass('mbox-text') :cssText(self.textstyle or nil) :wikitext(self.below or nil) end -- Add error message for invalid type parameters. if self.invalidTypeError then root:tag('div') :addClass('mbox-invalid-type') :wikitext(string.format( 'This message box is using an invalid "type=%s" parameter and needs fixing.', self.type or '' )) end -- Add categories. root:wikitext(self:renderCategories() or nil) return tostring(root) end -------------------------------------------------------------------------------- -- Exports -------------------------------------------------------------------------------- local p, mt = {}, {} function p._exportClasses() -- For testing. return { MessageBox = MessageBox } end function p.main(boxType, args, cfgTables) local box = MessageBox.new(boxType, args, cfgTables or mw.loadData(CONFIG_MODULE)) box:setParameters() box:setCategories() return box:export() end function mt.__index(t, k) return function (frame) if not getArgs then getArgs = require('Module:Arguments').getArgs end return t.main(k, getArgs(frame, {trim = false, removeBlanks = false})) end end return setmetatable(p, mt) bdb0ecc9f26f26b9c0ce12a066a183ac9d4f0705 828 97 919 918 2023-06-09T18:09:47Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Message_box/configuration]] Scribunto text/plain -------------------------------------------------------------------------------- -- Message box configuration -- -- -- -- This module contains configuration data for [[Module:Message box]]. -- -------------------------------------------------------------------------------- return { ambox = { types = { speedy = { class = 'ambox-speedy', image = 'Ambox warning pn.svg' }, delete = { class = 'ambox-delete', image = 'Ambox warning pn.svg' }, content = { class = 'ambox-content', image = 'Ambox important.svg' }, style = { class = 'ambox-style', image = 'Edit-clear.svg' }, move = { class = 'ambox-move', image = 'Merge-split-transwiki default.svg' }, protection = { class = 'ambox-protection', image = 'Semi-protection-shackle-keyhole.svg' }, notice = { class = 'ambox-notice', image = 'Information icon4.svg' } }, default = 'notice', allowBlankParams = {'talk', 'sect', 'date', 'issue', 'fix', 'subst', 'hidden'}, allowSmall = true, smallParam = 'left', smallClass = 'mbox-small-left', substCheck = true, classes = {'metadata', 'ambox'}, imageEmptyCell = true, imageCheckBlank = true, imageSmallSize = '20x20px', imageCellDiv = true, useCollapsibleTextFields = true, imageRightNone = true, sectionDefault = 'article', allowMainspaceCategories = true, templateCategory = 'Article message templates', templateCategoryRequireName = true, templateErrorCategory = 'Article message templates with missing parameters', templateErrorParamsToCheck = {'issue', 'fix', 'subst'}, removalNotice = '<small>[[Help:Maintenance template removal|Learn how and when to remove this template message]]</small>', templatestyles = 'Module:Message box/ambox.css' }, cmbox = { types = { speedy = { class = 'cmbox-speedy', image = 'Ambox warning pn.svg' }, delete = { class = 'cmbox-delete', image = 'Ambox warning pn.svg' }, content = { class = 'cmbox-content', image = 'Ambox important.svg' }, style = { class = 'cmbox-style', image = 'Edit-clear.svg' }, move = { class = 'cmbox-move', image = 'Merge-split-transwiki default.svg' }, protection = { class = 'cmbox-protection', image = 'Semi-protection-shackle-keyhole.svg' }, notice = { class = 'cmbox-notice', image = 'Information icon4.svg' } }, default = 'notice', showInvalidTypeError = true, classes = {'cmbox'}, imageEmptyCell = true, templatestyles = 'Module:Message box/cmbox.css' }, fmbox = { types = { warning = { class = 'fmbox-warning', image = 'Ambox warning pn.svg' }, editnotice = { class = 'fmbox-editnotice', image = 'Information icon4.svg' }, system = { class = 'fmbox-system', image = 'Information icon4.svg' } }, default = 'system', showInvalidTypeError = true, classes = {'fmbox'}, imageEmptyCell = false, imageRightNone = false, templatestyles = 'Module:Message box/fmbox.css' }, imbox = { types = { speedy = { class = 'imbox-speedy', image = 'Ambox warning pn.svg' }, delete = { class = 'imbox-delete', image = 'Ambox warning pn.svg' }, content = { class = 'imbox-content', image = 'Ambox important.svg' }, style = { class = 'imbox-style', image = 'Edit-clear.svg' }, move = { class = 'imbox-move', image = 'Merge-split-transwiki default.svg' }, protection = { class = 'imbox-protection', image = 'Semi-protection-shackle-keyhole.svg' }, license = { class = 'imbox-license licensetpl', image = 'Imbox license.png' -- @todo We need an SVG version of this }, featured = { class = 'imbox-featured', image = 'Cscr-featured.svg' }, notice = { class = 'imbox-notice', image = 'Information icon4.svg' } }, default = 'notice', showInvalidTypeError = true, classes = {'imbox'}, imageEmptyCell = true, below = true, templateCategory = 'File message boxes', templatestyles = 'Module:Message box/imbox.css' }, ombox = { types = { speedy = { class = 'ombox-speedy', image = 'Ambox warning pn.svg' }, delete = { class = 'ombox-delete', image = 'Ambox warning pn.svg' }, content = { class = 'ombox-content', image = 'Ambox important.svg' }, style = { class = 'ombox-style', image = 'Edit-clear.svg' }, move = { class = 'ombox-move', image = 'Merge-split-transwiki default.svg' }, protection = { class = 'ombox-protection', image = 'Semi-protection-shackle-keyhole.svg' }, notice = { class = 'ombox-notice', image = 'Information icon4.svg' } }, default = 'notice', showInvalidTypeError = true, classes = {'ombox'}, allowSmall = true, imageEmptyCell = true, imageRightNone = true, templatestyles = 'Module:Message box/ombox.css' }, tmbox = { types = { speedy = { class = 'tmbox-speedy', image = 'Ambox warning pn.svg' }, delete = { class = 'tmbox-delete', image = 'Ambox warning pn.svg' }, content = { class = 'tmbox-content', image = 'Ambox important.svg' }, style = { class = 'tmbox-style', image = 'Edit-clear.svg' }, move = { class = 'tmbox-move', image = 'Merge-split-transwiki default.svg' }, protection = { class = 'tmbox-protection', image = 'Semi-protection-shackle-keyhole.svg' }, notice = { class = 'tmbox-notice', image = 'Information icon4.svg' } }, default = 'notice', showInvalidTypeError = true, classes = {'tmbox'}, allowSmall = true, imageRightNone = true, imageEmptyCell = true, templateCategory = 'Talk message boxes', templatestyles = 'Module:Message box/tmbox.css' } } b6f0151037e6867b577c8cca32ff297e48697a10 828 98 921 920 2023-06-09T18:09:47Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Redirect]] Scribunto text/plain -- This module provides functions for getting the target of a redirect page. local p = {} -- Gets a mw.title object, using pcall to avoid generating script errors if we -- are over the expensive function count limit (among other possible causes). local function getTitle(...) local success, titleObj = pcall(mw.title.new, ...) if success then return titleObj else return nil end end -- Gets the name of a page that a redirect leads to, or nil if it isn't a -- redirect. function p.getTargetFromText(text) local target = string.match( text, "^%s*#[Rr][Ee][Dd][Ii][Rr][Ee][Cc][Tt]%s*:?%s*%[%[([^%[%]|]-)%]%]" ) or string.match( text, "^%s*#[Rr][Ee][Dd][Ii][Rr][Ee][Cc][Tt]%s*:?%s*%[%[([^%[%]|]-)|[^%[%]]-%]%]" ) return target and mw.uri.decode(target, 'PATH') end -- Gets the target of a redirect. If the page specified is not a redirect, -- returns nil. function p.getTarget(page, fulltext) -- Get the title object. Both page names and title objects are allowed -- as input. local titleObj if type(page) == 'string' or type(page) == 'number' then titleObj = getTitle(page) elseif type(page) == 'table' and type(page.getContent) == 'function' then titleObj = page else error(string.format( "bad argument #1 to 'getTarget'" .. " (string, number, or title object expected, got %s)", type(page) ), 2) end if not titleObj then return nil end local targetTitle = titleObj.redirectTarget if targetTitle then if fulltext then return targetTitle.fullText else return targetTitle.prefixedText end else return nil end end --[[ -- Given a single page name determines what page it redirects to and returns the -- target page name, or the passed page name when not a redirect. The passed -- page name can be given as plain text or as a page link. -- -- Returns page name as plain text, or when the bracket parameter is given, as a -- page link. Returns an error message when page does not exist or the redirect -- target cannot be determined for some reason. --]] function p.luaMain(rname, bracket, fulltext) if type(rname) ~= "string" or not rname:find("%S") then return nil end bracket = bracket and "[[%s]]" or "%s" rname = rname:match("%[%[(.+)%]%]") or rname local target = p.getTarget(rname, fulltext) local ret = target or rname ret = getTitle(ret) if ret then if fulltext then ret = ret.fullText else ret = ret.prefixedText end return bracket:format(ret) else return nil end end -- Provides access to the luaMain function from wikitext. function p.main(frame) local args = require('Module:Arguments').getArgs(frame, {frameOnly = true}) return p.luaMain(args[1], args.bracket, args.fulltext) or '' end -- Returns true if the specified page is a redirect, and false otherwise. function p.luaIsRedirect(page) local titleObj = getTitle(page) if not titleObj then return false end if titleObj.isRedirect then return true else return false end end -- Provides access to the luaIsRedirect function from wikitext, returning 'yes' -- if the specified page is a redirect, and the blank string otherwise. function p.isRedirect(frame) local args = require('Module:Arguments').getArgs(frame, {frameOnly = true}) if p.luaIsRedirect(args[1]) then return 'yes' else return '' end end return p a224c45940343d66f49a78b0a39b2045e2c45d20 828 99 923 922 2023-06-09T18:09:48Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Unsubst]] Scribunto text/plain local checkType = require('libraryUtil').checkType local p = {} local BODY_PARAM = '$B' local specialParams = { ['$params'] = 'parameter list', ['$aliases'] = 'parameter aliases', ['$flags'] = 'flags', ['$B'] = 'template content', ['$template-name'] = 'template invocation name override', } function p.main(frame, body) -- If we are substing, this function returns a template invocation, and if -- not, it returns the template body. The template body can be specified in -- the body parameter, or in the template parameter defined in the -- BODY_PARAM variable. This function can be called from Lua or from -- #invoke. -- Return the template body if we aren't substing. if not mw.isSubsting() then if body ~= nil then return body elseif frame.args[BODY_PARAM] ~= nil then return frame.args[BODY_PARAM] else error(string.format( "no template content specified (use parameter '%s' from #invoke)", BODY_PARAM ), 2) end end -- Sanity check for the frame object. if type(frame) ~= 'table' or type(frame.getParent) ~= 'function' or not frame:getParent() then error( "argument #1 to 'main' must be a frame object with a parent " .. "frame available", 2 ) end -- Find the invocation name. local mTemplateInvocation = require('Module:Template invocation') local name if frame.args['$template-name'] and '' ~= frame.args['$template-name'] then name = frame.args['$template-name'] -- override whatever the template name is with this name else name = mTemplateInvocation.name(frame:getParent():getTitle()) end -- Combine passed args with passed defaults local args = {} if string.find( ','..(frame.args['$flags'] or '')..',', ',%s*override%s*,' ) then for k, v in pairs( frame:getParent().args ) do args[k] = v end for k, v in pairs( frame.args ) do if not specialParams[k] then if v == '__DATE__' then v = mw.getContentLanguage():formatDate( 'F Y' ) end args[k] = v end end else for k, v in pairs( frame.args ) do if not specialParams[k] then if v == '__DATE__' then v = mw.getContentLanguage():formatDate( 'F Y' ) end args[k] = v end end for k, v in pairs( frame:getParent().args ) do args[k] = v end end -- Trim parameters, if not specified otherwise if not string.find( ','..(frame.args['$flags'] or '')..',', ',%s*keep%-whitespace%s*,' ) then for k, v in pairs( args ) do args[k] = mw.ustring.match(v, '^%s*(.*)%s*$') or '' end end -- Pull information from parameter aliases local aliases = {} if frame.args['$aliases'] then local list = mw.text.split( frame.args['$aliases'], '%s*,%s*' ) for k, v in ipairs( list ) do local tmp = mw.text.split( v, '%s*>%s*' ) aliases[tonumber(mw.ustring.match(tmp[1], '^[1-9][0-9]*$')) or tmp[1]] = ((tonumber(mw.ustring.match(tmp[2], '^[1-9][0-9]*$'))) or tmp[2]) end end for k, v in pairs( aliases ) do if args[k] and ( not args[v] or args[v] == '' ) then args[v] = args[k] end args[k] = nil end -- Remove empty parameters, if specified if string.find( ','..(frame.args['$flags'] or '')..',', ',%s*remove%-empty%s*,' ) then local tmp = 0 for k, v in ipairs( args ) do if v ~= '' or ( args[k+1] and args[k+1] ~= '' ) or ( args[k+2] and args[k+2] ~= '' ) then tmp = k else break end end for k, v in pairs( args ) do if v == '' then if not (type(k) == 'number' and k < tmp) then args[k] = nil end end end end -- Order parameters if frame.args['$params'] then local params, tmp = mw.text.split( frame.args['$params'], '%s*,%s*' ), {} for k, v in ipairs(params) do v = tonumber(mw.ustring.match(v, '^[1-9][0-9]*$')) or v if args[v] then tmp[v], args[v] = args[v], nil end end for k, v in pairs(args) do tmp[k], args[k] = args[k], nil end args = tmp end return mTemplateInvocation.invocation(name, args) end p[''] = p.main -- For backwards compatibility return p 7f01ffc8aa2ac4a4772f14c12e0b77e384ecabb6 10 100 925 924 2023-06-09T18:09:48Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Yesno]] wikitext text/x-wiki {{<includeonly>safesubst:</includeonly>#switch: {{<includeonly>safesubst:</includeonly>lc: {{{1|¬}}} }} |no |n |f |false |off |0 = {{{no|<!-- null -->}}} | = {{{blank|{{{no|<!-- null -->}}}}}} |¬ = {{{¬|}}} |yes |y |t |true |on |1 = {{{yes|yes}}} |#default = {{{def|{{{yes|yes}}}}}} }}<noinclude> {{Documentation}} </noinclude> 629c2937bc5cf7cfe13cd2a598582af832782399 828 101 927 926 2023-06-09T18:09:48Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Namespace_detect/data]] Scribunto text/plain -------------------------------------------------------------------------------- -- Namespace detect data -- -- This module holds data for [[Module:Namespace detect]] to be loaded per -- -- page, rather than per #invoke, for performance reasons. -- -------------------------------------------------------------------------------- local cfg = require('Module:Namespace detect/config') local function addKey(t, key, defaultKey) if key ~= defaultKey then t[#t + 1] = key end end -- Get a table of parameters to query for each default parameter name. -- This allows wikis to customise parameter names in the cfg table while -- ensuring that default parameter names will always work. The cfg table -- values can be added as a string, or as an array of strings. local defaultKeys = { 'main', 'talk', 'other', 'subjectns', 'demospace', 'demopage' } local argKeys = {} for i, defaultKey in ipairs(defaultKeys) do argKeys[defaultKey] = {defaultKey} end for defaultKey, t in pairs(argKeys) do local cfgValue = cfg[defaultKey] local cfgValueType = type(cfgValue) if cfgValueType == 'string' then addKey(t, cfgValue, defaultKey) elseif cfgValueType == 'table' then for i, key in ipairs(cfgValue) do addKey(t, key, defaultKey) end end cfg[defaultKey] = nil -- Free the cfg value as we don't need it any more. end local function getParamMappings() --[[ -- Returns a table of how parameter names map to namespace names. The keys -- are the actual namespace names, in lower case, and the values are the -- possible parameter names for that namespace, also in lower case. The -- table entries are structured like this: -- { -- [''] = {'main'}, -- ['wikipedia'] = {'wikipedia', 'project', 'wp'}, -- ... -- } --]] local mappings = {} local mainNsName = mw.site.subjectNamespaces[0].name mainNsName = mw.ustring.lower(mainNsName) mappings[mainNsName] = mw.clone(argKeys.main) mappings['talk'] = mw.clone(argKeys.talk) for nsid, ns in pairs(mw.site.subjectNamespaces) do if nsid ~= 0 then -- Exclude main namespace. local nsname = mw.ustring.lower(ns.name) local canonicalName = mw.ustring.lower(ns.canonicalName) mappings[nsname] = {nsname} if canonicalName ~= nsname then table.insert(mappings[nsname], canonicalName) end for _, alias in ipairs(ns.aliases) do table.insert(mappings[nsname], mw.ustring.lower(alias)) end end end return mappings end return { argKeys = argKeys, cfg = cfg, mappings = getParamMappings() } d224f42a258bc308ef3ad8cc8686cd7a4f47d005 828 102 929 928 2023-06-09T18:09:49Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Namespace_detect/config]] Scribunto text/plain -------------------------------------------------------------------------------- -- Namespace detect configuration data -- -- -- -- This module stores configuration data for Module:Namespace detect. Here -- -- you can localise the module to your wiki's language. -- -- -- -- To activate a configuration item, you need to uncomment it. This means -- -- that you need to remove the text "-- " at the start of the line. -- -------------------------------------------------------------------------------- local cfg = {} -- Don't edit this line. -------------------------------------------------------------------------------- -- Parameter names -- -- These configuration items specify custom parameter names. Values added -- -- here will work in addition to the default English parameter names. -- -- To add one extra name, you can use this format: -- -- -- -- cfg.foo = 'parameter name' -- -- -- -- To add multiple names, you can use this format: -- -- -- -- cfg.foo = {'parameter name 1', 'parameter name 2', 'parameter name 3'} -- -------------------------------------------------------------------------------- ---- This parameter displays content for the main namespace: -- cfg.main = 'main' ---- This parameter displays in talk namespaces: -- cfg.talk = 'talk' ---- This parameter displays content for "other" namespaces (namespaces for which ---- parameters have not been specified): -- cfg.other = 'other' ---- This parameter makes talk pages behave as though they are the corresponding ---- subject namespace. Note that this parameter is used with [[Module:Yesno]]. ---- Edit that module to change the default values of "yes", "no", etc. -- cfg.subjectns = 'subjectns' ---- This parameter sets a demonstration namespace: -- cfg.demospace = 'demospace' ---- This parameter sets a specific page to compare: cfg.demopage = 'page' -------------------------------------------------------------------------------- -- Table configuration -- -- These configuration items allow customisation of the "table" function, -- -- used to generate a table of possible parameters in the module -- -- documentation. -- -------------------------------------------------------------------------------- ---- The header for the namespace column in the wikitable containing the list of ---- possible subject-space parameters. -- cfg.wikitableNamespaceHeader = 'Namespace' ---- The header for the wikitable containing the list of possible subject-space ---- parameters. -- cfg.wikitableAliasesHeader = 'Aliases' -------------------------------------------------------------------------------- -- End of configuration data -- -------------------------------------------------------------------------------- return cfg -- Don't edit this line. 0e4ff08d13c4b664d66b32c232deb129b77c1a56 10 103 931 930 2023-06-09T18:09:49Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Main_other]] wikitext text/x-wiki {{#switch: <!--If no or empty "demospace" parameter then detect namespace--> {{#if:{{{demospace|}}} | {{lc: {{{demospace}}} }} <!--Use lower case "demospace"--> | {{#ifeq:{{NAMESPACE}}|{{ns:0}} | main | other }} }} | main = {{{1|}}} | other | #default = {{{2|}}} }}<noinclude> {{documentation}} <!-- Add categories to the /doc subpage; interwikis go to Wikidata, thank you! --> </noinclude> 86ad907ffeea3cc545159e00cd1f2d6433946450 828 104 933 932 2023-06-09T18:09:49Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Check_for_unknown_parameters]] Scribunto text/plain -- This module may be used to compare the arguments passed to the parent -- with a list of arguments, returning a specified result if an argument is -- not on the list local p = {} local function trim(s) return s:match('^%s*(.-)%s*$') end local function isnotempty(s) return s and s:match('%S') end local function clean(text) -- Return text cleaned for display and truncated if too long. -- Strip markers are replaced with dummy text representing the original wikitext. local pos, truncated local function truncate(text) if truncated then return '' end if mw.ustring.len(text) > 25 then truncated = true text = mw.ustring.sub(text, 1, 25) .. '...' end return mw.text.nowiki(text) end local parts = {} for before, tag, remainder in text:gmatch('([^\127]*)\127[^\127]*%-(%l+)%-[^\127]*\127()') do pos = remainder table.insert(parts, truncate(before) .. '&lt;' .. tag .. '&gt;...&lt;/' .. tag .. '&gt;') end table.insert(parts, truncate(text:sub(pos or 1))) return table.concat(parts) end function p._check(args, pargs) if type(args) ~= "table" or type(pargs) ~= "table" then -- TODO: error handling return end -- create the list of known args, regular expressions, and the return string local knownargs = {} local regexps = {} for k, v in pairs(args) do if type(k) == 'number' then v = trim(v) knownargs[v] = 1 elseif k:find('^regexp[1-9][0-9]*$') then table.insert(regexps, '^' .. v .. '$') end end -- loop over the parent args, and make sure they are on the list local ignoreblank = isnotempty(args['ignoreblank']) local showblankpos = isnotempty(args['showblankpositional']) local values = {} for k, v in pairs(pargs) do if type(k) == 'string' and knownargs[k] == nil then local knownflag = false for _, regexp in ipairs(regexps) do if mw.ustring.match(k, regexp) then knownflag = true break end end if not knownflag and ( not ignoreblank or isnotempty(v) ) then table.insert(values, clean(k)) end elseif type(k) == 'number' and knownargs[tostring(k)] == nil then local knownflag = false for _, regexp in ipairs(regexps) do if mw.ustring.match(tostring(k), regexp) then knownflag = true break end end if not knownflag and ( showblankpos or isnotempty(v) ) then table.insert(values, k .. ' = ' .. clean(v)) end end end -- add results to the output tables local res = {} if #values > 0 then local unknown_text = args['unknown'] or 'Found _VALUE_, ' if mw.getCurrentFrame():preprocess( "{{REVISIONID}}" ) == "" then local preview_text = args['preview'] if isnotempty(preview_text) then preview_text = require('Module:If preview')._warning({preview_text}) elseif preview == nil then preview_text = unknown_text end unknown_text = preview_text end for _, v in pairs(values) do -- Fix odd bug for | = which gets stripped to the empty string and -- breaks category links if v == '' then v = ' ' end -- avoid error with v = 'example%2' ("invalid capture index") local r = unknown_text:gsub('_VALUE_', {_VALUE_ = v}) table.insert(res, r) end end return table.concat(res) end function p.check(frame) local args = frame.args local pargs = frame:getParent().args return p._check(args, pargs) end return p 93db6d115d4328d2a5148bb42959105e367b663e 828 105 935 934 2023-06-09T18:09:50Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:String]] Scribunto text/plain --[[ This module is intended to provide access to basic string functions. Most of the functions provided here can be invoked with named parameters, unnamed parameters, or a mixture. If named parameters are used, Mediawiki will automatically remove any leading or trailing whitespace from the parameter. Depending on the intended use, it may be advantageous to either preserve or remove such whitespace. Global options ignore_errors: If set to 'true' or 1, any error condition will result in an empty string being returned rather than an error message. error_category: If an error occurs, specifies the name of a category to include with the error message. The default category is [Category:Errors reported by Module String]. no_category: If set to 'true' or 1, no category will be added if an error is generated. Unit tests for this module are available at Module:String/tests. ]] local str = {} --[[ len This function returns the length of the target string. Usage: {{#invoke:String|len|target_string|}} OR {{#invoke:String|len|s=target_string}} Parameters s: The string whose length to report If invoked using named parameters, Mediawiki will automatically remove any leading or trailing whitespace from the target string. ]] function str.len( frame ) local new_args = str._getParameters( frame.args, {'s'} ) local s = new_args['s'] or '' return mw.ustring.len( s ) end --[[ sub This function returns a substring of the target string at specified indices. Usage: {{#invoke:String|sub|target_string|start_index|end_index}} OR {{#invoke:String|sub|s=target_string|i=start_index|j=end_index}} Parameters s: The string to return a subset of i: The fist index of the substring to return, defaults to 1. j: The last index of the string to return, defaults to the last character. The first character of the string is assigned an index of 1. If either i or j is a negative value, it is interpreted the same as selecting a character by counting from the end of the string. Hence, a value of -1 is the same as selecting the last character of the string. If the requested indices are out of range for the given string, an error is reported. ]] function str.sub( frame ) local new_args = str._getParameters( frame.args, { 's', 'i', 'j' } ) local s = new_args['s'] or '' local i = tonumber( new_args['i'] ) or 1 local j = tonumber( new_args['j'] ) or -1 local len = mw.ustring.len( s ) -- Convert negatives for range checking if i < 0 then i = len + i + 1 end if j < 0 then j = len + j + 1 end if i > len or j > len or i < 1 or j < 1 then return str._error( 'String subset index out of range' ) end if j < i then return str._error( 'String subset indices out of order' ) end return mw.ustring.sub( s, i, j ) end --[[ This function implements that features of {{str sub old}} and is kept in order to maintain these older templates. ]] function str.sublength( frame ) local i = tonumber( frame.args.i ) or 0 local len = tonumber( frame.args.len ) return mw.ustring.sub( frame.args.s, i + 1, len and ( i + len ) ) end --[[ _match This function returns a substring from the source string that matches a specified pattern. It is exported for use in other modules Usage: strmatch = require("Module:String")._match sresult = strmatch( s, pattern, start, match, plain, nomatch ) Parameters s: The string to search pattern: The pattern or string to find within the string start: The index within the source string to start the search. The first character of the string has index 1. Defaults to 1. match: In some cases it may be possible to make multiple matches on a single string. This specifies which match to return, where the first match is match= 1. If a negative number is specified then a match is returned counting from the last match. Hence match = -1 is the same as requesting the last match. Defaults to 1. plain: A flag indicating that the pattern should be understood as plain text. Defaults to false. nomatch: If no match is found, output the "nomatch" value rather than an error. For information on constructing Lua patterns, a form of [regular expression], see: * http://www.lua.org/manual/5.1/manual.html#5.4.1 * http://www.mediawiki.org/wiki/Extension:Scribunto/Lua_reference_manual#Patterns * http://www.mediawiki.org/wiki/Extension:Scribunto/Lua_reference_manual#Ustring_patterns ]] -- This sub-routine is exported for use in other modules function str._match( s, pattern, start, match_index, plain_flag, nomatch ) if s == '' then return str._error( 'Target string is empty' ) end if pattern == '' then return str._error( 'Pattern string is empty' ) end start = tonumber(start) or 1 if math.abs(start) < 1 or math.abs(start) > mw.ustring.len( s ) then return str._error( 'Requested start is out of range' ) end if match_index == 0 then return str._error( 'Match index is out of range' ) end if plain_flag then pattern = str._escapePattern( pattern ) end local result if match_index == 1 then -- Find first match is simple case result = mw.ustring.match( s, pattern, start ) else if start > 1 then s = mw.ustring.sub( s, start ) end local iterator = mw.ustring.gmatch(s, pattern) if match_index > 0 then -- Forward search for w in iterator do match_index = match_index - 1 if match_index == 0 then result = w break end end else -- Reverse search local result_table = {} local count = 1 for w in iterator do result_table[count] = w count = count + 1 end result = result_table[ count + match_index ] end end if result == nil then if nomatch == nil then return str._error( 'Match not found' ) else return nomatch end else return result end end --[[ match This function returns a substring from the source string that matches a specified pattern. Usage: {{#invoke:String|match|source_string|pattern_string|start_index|match_number|plain_flag|nomatch_output}} OR {{#invoke:String|match|s=source_string|pattern=pattern_string|start=start_index |match=match_number|plain=plain_flag|nomatch=nomatch_output}} Parameters s: The string to search pattern: The pattern or string to find within the string start: The index within the source string to start the search. The first character of the string has index 1. Defaults to 1. match: In some cases it may be possible to make multiple matches on a single string. This specifies which match to return, where the first match is match= 1. If a negative number is specified then a match is returned counting from the last match. Hence match = -1 is the same as requesting the last match. Defaults to 1. plain: A flag indicating that the pattern should be understood as plain text. Defaults to false. nomatch: If no match is found, output the "nomatch" value rather than an error. If invoked using named parameters, Mediawiki will automatically remove any leading or trailing whitespace from each string. In some circumstances this is desirable, in other cases one may want to preserve the whitespace. If the match_number or start_index are out of range for the string being queried, then this function generates an error. An error is also generated if no match is found. If one adds the parameter ignore_errors=true, then the error will be suppressed and an empty string will be returned on any failure. For information on constructing Lua patterns, a form of [regular expression], see: * http://www.lua.org/manual/5.1/manual.html#5.4.1 * http://www.mediawiki.org/wiki/Extension:Scribunto/Lua_reference_manual#Patterns * http://www.mediawiki.org/wiki/Extension:Scribunto/Lua_reference_manual#Ustring_patterns ]] -- This is the entry point for #invoke:String|match function str.match( frame ) local new_args = str._getParameters( frame.args, {'s', 'pattern', 'start', 'match', 'plain', 'nomatch'} ) local s = new_args['s'] or '' local start = tonumber( new_args['start'] ) or 1 local plain_flag = str._getBoolean( new_args['plain'] or false ) local pattern = new_args['pattern'] or '' local match_index = math.floor( tonumber(new_args['match']) or 1 ) local nomatch = new_args['nomatch'] return str._match( s, pattern, start, match_index, plain_flag, nomatch ) end --[[ pos This function returns a single character from the target string at position pos. Usage: {{#invoke:String|pos|target_string|index_value}} OR {{#invoke:String|pos|target=target_string|pos=index_value}} Parameters target: The string to search pos: The index for the character to return If invoked using named parameters, Mediawiki will automatically remove any leading or trailing whitespace from the target string. In some circumstances this is desirable, in other cases one may want to preserve the whitespace. The first character has an index value of 1. If one requests a negative value, this function will select a character by counting backwards from the end of the string. In other words pos = -1 is the same as asking for the last character. A requested value of zero, or a value greater than the length of the string returns an error. ]] function str.pos( frame ) local new_args = str._getParameters( frame.args, {'target', 'pos'} ) local target_str = new_args['target'] or '' local pos = tonumber( new_args['pos'] ) or 0 if pos == 0 or math.abs(pos) > mw.ustring.len( target_str ) then return str._error( 'String index out of range' ) end return mw.ustring.sub( target_str, pos, pos ) end --[[ str_find This function duplicates the behavior of {{str_find}}, including all of its quirks. This is provided in order to support existing templates, but is NOT RECOMMENDED for new code and templates. New code is recommended to use the "find" function instead. Returns the first index in "source" that is a match to "target". Indexing is 1-based, and the function returns -1 if the "target" string is not present in "source". Important Note: If the "target" string is empty / missing, this function returns a value of "1", which is generally unexpected behavior, and must be accounted for separatetly. ]] function str.str_find( frame ) local new_args = str._getParameters( frame.args, {'source', 'target'} ) local source_str = new_args['source'] or '' local target_str = new_args['target'] or '' if target_str == '' then return 1 end local start = mw.ustring.find( source_str, target_str, 1, true ) if start == nil then start = -1 end return start end --[[ find This function allows one to search for a target string or pattern within another string. Usage: {{#invoke:String|find|source_str|target_string|start_index|plain_flag}} OR {{#invoke:String|find|source=source_str|target=target_str|start=start_index|plain=plain_flag}} Parameters source: The string to search target: The string or pattern to find within source start: The index within the source string to start the search, defaults to 1 plain: Boolean flag indicating that target should be understood as plain text and not as a Lua style regular expression, defaults to true If invoked using named parameters, Mediawiki will automatically remove any leading or trailing whitespace from the parameter. In some circumstances this is desirable, in other cases one may want to preserve the whitespace. This function returns the first index >= "start" where "target" can be found within "source". Indices are 1-based. If "target" is not found, then this function returns 0. If either "source" or "target" are missing / empty, this function also returns 0. This function should be safe for UTF-8 strings. ]] function str.find( frame ) local new_args = str._getParameters( frame.args, {'source', 'target', 'start', 'plain' } ) local source_str = new_args['source'] or '' local pattern = new_args['target'] or '' local start_pos = tonumber(new_args['start']) or 1 local plain = new_args['plain'] or true if source_str == '' or pattern == '' then return 0 end plain = str._getBoolean( plain ) local start = mw.ustring.find( source_str, pattern, start_pos, plain ) if start == nil then start = 0 end return start end --[[ replace This function allows one to replace a target string or pattern within another string. Usage: {{#invoke:String|replace|source_str|pattern_string|replace_string|replacement_count|plain_flag}} OR {{#invoke:String|replace|source=source_string|pattern=pattern_string|replace=replace_string| count=replacement_count|plain=plain_flag}} Parameters source: The string to search pattern: The string or pattern to find within source replace: The replacement text count: The number of occurences to replace, defaults to all. plain: Boolean flag indicating that pattern should be understood as plain text and not as a Lua style regular expression, defaults to true ]] function str.replace( frame ) local new_args = str._getParameters( frame.args, {'source', 'pattern', 'replace', 'count', 'plain' } ) local source_str = new_args['source'] or '' local pattern = new_args['pattern'] or '' local replace = new_args['replace'] or '' local count = tonumber( new_args['count'] ) local plain = new_args['plain'] or true if source_str == '' or pattern == '' then return source_str end plain = str._getBoolean( plain ) if plain then pattern = str._escapePattern( pattern ) replace = mw.ustring.gsub( replace, "%%", "%%%%" ) --Only need to escape replacement sequences. end local result if count ~= nil then result = mw.ustring.gsub( source_str, pattern, replace, count ) else result = mw.ustring.gsub( source_str, pattern, replace ) end return result end --[[ simple function to pipe string.rep to templates. ]] function str.rep( frame ) local repetitions = tonumber( frame.args[2] ) if not repetitions then return str._error( 'function rep expects a number as second parameter, received "' .. ( frame.args[2] or '' ) .. '"' ) end return string.rep( frame.args[1] or '', repetitions ) end --[[ escapePattern This function escapes special characters from a Lua string pattern. See [1] for details on how patterns work. [1] https://www.mediawiki.org/wiki/Extension:Scribunto/Lua_reference_manual#Patterns Usage: {{#invoke:String|escapePattern|pattern_string}} Parameters pattern_string: The pattern string to escape. ]] function str.escapePattern( frame ) local pattern_str = frame.args[1] if not pattern_str then return str._error( 'No pattern string specified' ) end local result = str._escapePattern( pattern_str ) return result end --[[ count This function counts the number of occurrences of one string in another. ]] function str.count(frame) local args = str._getParameters(frame.args, {'source', 'pattern', 'plain'}) local source = args.source or '' local pattern = args.pattern or '' local plain = str._getBoolean(args.plain or true) if plain then pattern = str._escapePattern(pattern) end local _, count = mw.ustring.gsub(source, pattern, '') return count end --[[ endswith This function determines whether a string ends with another string. ]] function str.endswith(frame) local args = str._getParameters(frame.args, {'source', 'pattern'}) local source = args.source or '' local pattern = args.pattern or '' if pattern == '' then -- All strings end with the empty string. return "yes" end if mw.ustring.sub(source, -mw.ustring.len(pattern), -1) == pattern then return "yes" else return "" end end --[[ join Join all non empty arguments together; the first argument is the separator. Usage: {{#invoke:String|join|sep|one|two|three}} ]] function str.join(frame) local args = {} local sep for _, v in ipairs( frame.args ) do if sep then if v ~= '' then table.insert(args, v) end else sep = v end end return table.concat( args, sep or '' ) end --[[ Helper function that populates the argument list given that user may need to use a mix of named and unnamed parameters. This is relevant because named parameters are not identical to unnamed parameters due to string trimming, and when dealing with strings we sometimes want to either preserve or remove that whitespace depending on the application. ]] function str._getParameters( frame_args, arg_list ) local new_args = {} local index = 1 local value for _, arg in ipairs( arg_list ) do value = frame_args[arg] if value == nil then value = frame_args[index] index = index + 1 end new_args[arg] = value end return new_args end --[[ Helper function to handle error messages. ]] function str._error( error_str ) local frame = mw.getCurrentFrame() local error_category = frame.args.error_category or 'Errors reported by Module String' local ignore_errors = frame.args.ignore_errors or false local no_category = frame.args.no_category or false if str._getBoolean(ignore_errors) then return '' end local error_str = '<strong class="error">String Module Error: ' .. error_str .. '</strong>' if error_category ~= '' and not str._getBoolean( no_category ) then error_str = '[[Category:' .. error_category .. ']]' .. error_str end return error_str end --[[ Helper Function to interpret boolean strings ]] function str._getBoolean( boolean_str ) local boolean_value if type( boolean_str ) == 'string' then boolean_str = boolean_str:lower() if boolean_str == 'false' or boolean_str == 'no' or boolean_str == '0' or boolean_str == '' then boolean_value = false else boolean_value = true end elseif type( boolean_str ) == 'boolean' then boolean_value = boolean_str else error( 'No boolean value found' ) end return boolean_value end --[[ Helper function that escapes all pattern characters so that they will be treated as plain text. ]] function str._escapePattern( pattern_str ) return mw.ustring.gsub( pattern_str, "([%(%)%.%%%+%-%*%?%[%^%$%]])", "%%%1" ) end return str 6df794dd52434e0f6a372c9918f5a9dedd15f579 828 106 937 936 2023-06-09T18:09:50Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:List]] Scribunto text/plain local libUtil = require('libraryUtil') local checkType = libUtil.checkType local mTableTools = require('Module:TableTools') local p = {} local listTypes = { ['bulleted'] = true, ['unbulleted'] = true, ['horizontal'] = true, ['ordered'] = true, ['horizontal_ordered'] = true } function p.makeListData(listType, args) -- Constructs a data table to be passed to p.renderList. local data = {} -- Classes and TemplateStyles data.classes = {} data.templatestyles = '' if listType == 'horizontal' or listType == 'horizontal_ordered' then table.insert(data.classes, 'hlist') data.templatestyles = mw.getCurrentFrame():extensionTag{ name = 'templatestyles', args = { src = 'Hlist/styles.css' } } elseif listType == 'unbulleted' then table.insert(data.classes, 'plainlist') data.templatestyles = mw.getCurrentFrame():extensionTag{ name = 'templatestyles', args = { src = 'Plainlist/styles.css' } } end table.insert(data.classes, args.class) -- Main div style data.style = args.style -- Indent for horizontal lists if listType == 'horizontal' or listType == 'horizontal_ordered' then local indent = tonumber(args.indent) indent = indent and indent * 1.6 or 0 if indent > 0 then data.marginLeft = indent .. 'em' end end -- List style types for ordered lists -- This could be "1, 2, 3", "a, b, c", or a number of others. The list style -- type is either set by the "type" attribute or the "list-style-type" CSS -- property. if listType == 'ordered' or listType == 'horizontal_ordered' then data.listStyleType = args.list_style_type or args['list-style-type'] data.type = args['type'] -- Detect invalid type attributes and attempt to convert them to -- list-style-type CSS properties. if data.type and not data.listStyleType and not tostring(data.type):find('^%s*[1AaIi]%s*$') then data.listStyleType = data.type data.type = nil end end -- List tag type if listType == 'ordered' or listType == 'horizontal_ordered' then data.listTag = 'ol' else data.listTag = 'ul' end -- Start number for ordered lists data.start = args.start if listType == 'horizontal_ordered' then -- Apply fix to get start numbers working with horizontal ordered lists. local startNum = tonumber(data.start) if startNum then data.counterReset = 'listitem ' .. tostring(startNum - 1) end end -- List style -- ul_style and ol_style are included for backwards compatibility. No -- distinction is made for ordered or unordered lists. data.listStyle = args.list_style -- List items -- li_style is included for backwards compatibility. item_style was included -- to be easier to understand for non-coders. data.itemStyle = args.item_style or args.li_style data.items = {} for _, num in ipairs(mTableTools.numKeys(args)) do local item = {} item.content = args[num] item.style = args['item' .. tostring(num) .. '_style'] or args['item_style' .. tostring(num)] item.value = args['item' .. tostring(num) .. '_value'] or args['item_value' .. tostring(num)] table.insert(data.items, item) end return data end function p.renderList(data) -- Renders the list HTML. -- Return the blank string if there are no list items. if type(data.items) ~= 'table' or #data.items < 1 then return '' end -- Render the main div tag. local root = mw.html.create('div') for _, class in ipairs(data.classes or {}) do root:addClass(class) end root:css{['margin-left'] = data.marginLeft} if data.style then root:cssText(data.style) end -- Render the list tag. local list = root:tag(data.listTag or 'ul') list :attr{start = data.start, type = data.type} :css{ ['counter-reset'] = data.counterReset, ['list-style-type'] = data.listStyleType } if data.listStyle then list:cssText(data.listStyle) end -- Render the list items for _, t in ipairs(data.items or {}) do local item = list:tag('li') if data.itemStyle then item:cssText(data.itemStyle) end if t.style then item:cssText(t.style) end item :attr{value = t.value} :wikitext(t.content) end return data.templatestyles .. tostring(root) end function p.renderTrackingCategories(args) local isDeprecated = false -- Tracks deprecated parameters. for k, v in pairs(args) do k = tostring(k) if k:find('^item_style%d+$') or k:find('^item_value%d+$') then isDeprecated = true break end end local ret = '' if isDeprecated then ret = ret .. '[[Category:List templates with deprecated parameters]]' end return ret end function p.makeList(listType, args) if not listType or not listTypes[listType] then error(string.format( "bad argument #1 to 'makeList' ('%s' is not a valid list type)", tostring(listType) ), 2) end checkType('makeList', 2, args, 'table') local data = p.makeListData(listType, args) local list = p.renderList(data) local trackingCategories = p.renderTrackingCategories(args) return list .. trackingCategories end for listType in pairs(listTypes) do p[listType] = function (frame) local mArguments = require('Module:Arguments') local origArgs = mArguments.getArgs(frame, { valueFunc = function (key, value) if not value or not mw.ustring.find(value, '%S') then return nil end if mw.ustring.find(value, '^%s*[%*#;:]') then return value else return value:match('^%s*(.-)%s*$') end return nil end }) -- Copy all the arguments to a new table, for faster indexing. local args = {} for k, v in pairs(origArgs) do args[k] = v end return p.makeList(listType, args) end end return p 7a4f36a6e9cd56370bdd8207d23694124821dc1a 828 107 939 938 2023-06-09T18:09:51Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:TableTools]] Scribunto text/plain ------------------------------------------------------------------------------------ -- TableTools -- -- -- -- This module includes a number of functions for dealing with Lua tables. -- -- It is a meta-module, meant to be called from other Lua modules, and should not -- -- be called directly from #invoke. -- ------------------------------------------------------------------------------------ local libraryUtil = require('libraryUtil') local p = {} -- Define often-used variables and functions. local floor = math.floor local infinity = math.huge local checkType = libraryUtil.checkType local checkTypeMulti = libraryUtil.checkTypeMulti ------------------------------------------------------------------------------------ -- isPositiveInteger -- -- This function returns true if the given value is a positive integer, and false -- if not. Although it doesn't operate on tables, it is included here as it is -- useful for determining whether a given table key is in the array part or the -- hash part of a table. ------------------------------------------------------------------------------------ function p.isPositiveInteger(v) return type(v) == 'number' and v >= 1 and floor(v) == v and v < infinity end ------------------------------------------------------------------------------------ -- isNan -- -- This function returns true if the given number is a NaN value, and false if -- not. Although it doesn't operate on tables, it is included here as it is useful -- for determining whether a value can be a valid table key. Lua will generate an -- error if a NaN is used as a table key. ------------------------------------------------------------------------------------ function p.isNan(v) return type(v) == 'number' and v ~= v end ------------------------------------------------------------------------------------ -- shallowClone -- -- This returns a clone of a table. The value returned is a new table, but all -- subtables and functions are shared. Metamethods are respected, but the returned -- table will have no metatable of its own. ------------------------------------------------------------------------------------ function p.shallowClone(t) checkType('shallowClone', 1, t, 'table') local ret = {} for k, v in pairs(t) do ret[k] = v end return ret end ------------------------------------------------------------------------------------ -- removeDuplicates -- -- This removes duplicate values from an array. Non-positive-integer keys are -- ignored. The earliest value is kept, and all subsequent duplicate values are -- removed, but otherwise the array order is unchanged. ------------------------------------------------------------------------------------ function p.removeDuplicates(arr) checkType('removeDuplicates', 1, arr, 'table') local isNan = p.isNan local ret, exists = {}, {} for _, v in ipairs(arr) do if isNan(v) then -- NaNs can't be table keys, and they are also unique, so we don't need to check existence. ret[#ret + 1] = v else if not exists[v] then ret[#ret + 1] = v exists[v] = true end end end return ret end ------------------------------------------------------------------------------------ -- numKeys -- -- This takes a table and returns an array containing the numbers of any numerical -- keys that have non-nil values, sorted in numerical order. ------------------------------------------------------------------------------------ function p.numKeys(t) checkType('numKeys', 1, t, 'table') local isPositiveInteger = p.isPositiveInteger local nums = {} for k in pairs(t) do if isPositiveInteger(k) then nums[#nums + 1] = k end end table.sort(nums) return nums end ------------------------------------------------------------------------------------ -- affixNums -- -- This takes a table and returns an array containing the numbers of keys with the -- specified prefix and suffix. For example, for the table -- {a1 = 'foo', a3 = 'bar', a6 = 'baz'} and the prefix "a", affixNums will return -- {1, 3, 6}. ------------------------------------------------------------------------------------ function p.affixNums(t, prefix, suffix) checkType('affixNums', 1, t, 'table') checkType('affixNums', 2, prefix, 'string', true) checkType('affixNums', 3, suffix, 'string', true) local function cleanPattern(s) -- Cleans a pattern so that the magic characters ()%.[]*+-?^$ are interpreted literally. return s:gsub('([%(%)%%%.%[%]%*%+%-%?%^%$])', '%%%1') end prefix = prefix or '' suffix = suffix or '' prefix = cleanPattern(prefix) suffix = cleanPattern(suffix) local pattern = '^' .. prefix .. '([1-9]%d*)' .. suffix .. '$' local nums = {} for k in pairs(t) do if type(k) == 'string' then local num = mw.ustring.match(k, pattern) if num then nums[#nums + 1] = tonumber(num) end end end table.sort(nums) return nums end ------------------------------------------------------------------------------------ -- numData -- -- Given a table with keys like {"foo1", "bar1", "foo2", "baz2"}, returns a table -- of subtables in the format -- {[1] = {foo = 'text', bar = 'text'}, [2] = {foo = 'text', baz = 'text'}}. -- Keys that don't end with an integer are stored in a subtable named "other". The -- compress option compresses the table so that it can be iterated over with -- ipairs. ------------------------------------------------------------------------------------ function p.numData(t, compress) checkType('numData', 1, t, 'table') checkType('numData', 2, compress, 'boolean', true) local ret = {} for k, v in pairs(t) do local prefix, num = mw.ustring.match(tostring(k), '^([^0-9]*)([1-9][0-9]*)$') if num then num = tonumber(num) local subtable = ret[num] or {} if prefix == '' then -- Positional parameters match the blank string; put them at the start of the subtable instead. prefix = 1 end subtable[prefix] = v ret[num] = subtable else local subtable = ret.other or {} subtable[k] = v ret.other = subtable end end if compress then local other = ret.other ret = p.compressSparseArray(ret) ret.other = other end return ret end ------------------------------------------------------------------------------------ -- compressSparseArray -- -- This takes an array with one or more nil values, and removes the nil values -- while preserving the order, so that the array can be safely traversed with -- ipairs. ------------------------------------------------------------------------------------ function p.compressSparseArray(t) checkType('compressSparseArray', 1, t, 'table') local ret = {} local nums = p.numKeys(t) for _, num in ipairs(nums) do ret[#ret + 1] = t[num] end return ret end ------------------------------------------------------------------------------------ -- sparseIpairs -- -- This is an iterator for sparse arrays. It can be used like ipairs, but can -- handle nil values. ------------------------------------------------------------------------------------ function p.sparseIpairs(t) checkType('sparseIpairs', 1, t, 'table') local nums = p.numKeys(t) local i = 0 local lim = #nums return function () i = i + 1 if i <= lim then local key = nums[i] return key, t[key] else return nil, nil end end end ------------------------------------------------------------------------------------ -- size -- -- This returns the size of a key/value pair table. It will also work on arrays, -- but for arrays it is more efficient to use the # operator. ------------------------------------------------------------------------------------ function p.size(t) checkType('size', 1, t, 'table') local i = 0 for _ in pairs(t) do i = i + 1 end return i end local function defaultKeySort(item1, item2) -- "number" < "string", so numbers will be sorted before strings. local type1, type2 = type(item1), type(item2) if type1 ~= type2 then return type1 < type2 elseif type1 == 'table' or type1 == 'boolean' or type1 == 'function' then return tostring(item1) < tostring(item2) else return item1 < item2 end end ------------------------------------------------------------------------------------ -- keysToList -- -- Returns an array of the keys in a table, sorted using either a default -- comparison function or a custom keySort function. ------------------------------------------------------------------------------------ function p.keysToList(t, keySort, checked) if not checked then checkType('keysToList', 1, t, 'table') checkTypeMulti('keysToList', 2, keySort, {'function', 'boolean', 'nil'}) end local arr = {} local index = 1 for k in pairs(t) do arr[index] = k index = index + 1 end if keySort ~= false then keySort = type(keySort) == 'function' and keySort or defaultKeySort table.sort(arr, keySort) end return arr end ------------------------------------------------------------------------------------ -- sortedPairs -- -- Iterates through a table, with the keys sorted using the keysToList function. -- If there are only numerical keys, sparseIpairs is probably more efficient. ------------------------------------------------------------------------------------ function p.sortedPairs(t, keySort) checkType('sortedPairs', 1, t, 'table') checkType('sortedPairs', 2, keySort, 'function', true) local arr = p.keysToList(t, keySort, true) local i = 0 return function () i = i + 1 local key = arr[i] if key ~= nil then return key, t[key] else return nil, nil end end end ------------------------------------------------------------------------------------ -- isArray -- -- Returns true if the given value is a table and all keys are consecutive -- integers starting at 1. ------------------------------------------------------------------------------------ function p.isArray(v) if type(v) ~= 'table' then return false end local i = 0 for _ in pairs(v) do i = i + 1 if v[i] == nil then return false end end return true end ------------------------------------------------------------------------------------ -- isArrayLike -- -- Returns true if the given value is iterable and all keys are consecutive -- integers starting at 1. ------------------------------------------------------------------------------------ function p.isArrayLike(v) if not pcall(pairs, v) then return false end local i = 0 for _ in pairs(v) do i = i + 1 if v[i] == nil then return false end end return true end ------------------------------------------------------------------------------------ -- invert -- -- Transposes the keys and values in an array. For example, {"a", "b", "c"} -> -- {a = 1, b = 2, c = 3}. Duplicates are not supported (result values refer to -- the index of the last duplicate) and NaN values are ignored. ------------------------------------------------------------------------------------ function p.invert(arr) checkType("invert", 1, arr, "table") local isNan = p.isNan local map = {} for i, v in ipairs(arr) do if not isNan(v) then map[v] = i end end return map end ------------------------------------------------------------------------------------ -- listToSet -- -- Creates a set from the array part of the table. Indexing the set by any of the -- values of the array returns true. For example, {"a", "b", "c"} -> -- {a = true, b = true, c = true}. NaN values are ignored as Lua considers them -- never equal to any value (including other NaNs or even themselves). ------------------------------------------------------------------------------------ function p.listToSet(arr) checkType("listToSet", 1, arr, "table") local isNan = p.isNan local set = {} for _, v in ipairs(arr) do if not isNan(v) then set[v] = true end end return set end ------------------------------------------------------------------------------------ -- deepCopy -- -- Recursive deep copy function. Preserves identities of subtables. ------------------------------------------------------------------------------------ local function _deepCopy(orig, includeMetatable, already_seen) -- Stores copies of tables indexed by the original table. already_seen = already_seen or {} local copy = already_seen[orig] if copy ~= nil then return copy end if type(orig) == 'table' then copy = {} for orig_key, orig_value in pairs(orig) do copy[_deepCopy(orig_key, includeMetatable, already_seen)] = _deepCopy(orig_value, includeMetatable, already_seen) end already_seen[orig] = copy if includeMetatable then local mt = getmetatable(orig) if mt ~= nil then local mt_copy = _deepCopy(mt, includeMetatable, already_seen) setmetatable(copy, mt_copy) already_seen[mt] = mt_copy end end else -- number, string, boolean, etc copy = orig end return copy end function p.deepCopy(orig, noMetatable, already_seen) checkType("deepCopy", 3, already_seen, "table", true) return _deepCopy(orig, not noMetatable, already_seen) end ------------------------------------------------------------------------------------ -- sparseConcat -- -- Concatenates all values in the table that are indexed by a number, in order. -- sparseConcat{a, nil, c, d} => "acd" -- sparseConcat{nil, b, c, d} => "bcd" ------------------------------------------------------------------------------------ function p.sparseConcat(t, sep, i, j) local arr = {} local arr_i = 0 for _, v in p.sparseIpairs(t) do arr_i = arr_i + 1 arr[arr_i] = v end return table.concat(arr, sep, i, j) end ------------------------------------------------------------------------------------ -- length -- -- Finds the length of an array, or of a quasi-array with keys such as "data1", -- "data2", etc., using an exponential search algorithm. It is similar to the -- operator #, but may return a different value when there are gaps in the array -- portion of the table. Intended to be used on data loaded with mw.loadData. For -- other tables, use #. -- Note: #frame.args in frame object always be set to 0, regardless of the number -- of unnamed template parameters, so use this function for frame.args. ------------------------------------------------------------------------------------ function p.length(t, prefix) -- requiring module inline so that [[Module:Exponential search]] which is -- only needed by this one function doesn't get millions of transclusions local expSearch = require("Module:Exponential search") checkType('length', 1, t, 'table') checkType('length', 2, prefix, 'string', true) return expSearch(function (i) local key if prefix then key = prefix .. tostring(i) else key = i end return t[key] ~= nil end) or 0 end ------------------------------------------------------------------------------------ -- inArray -- -- Returns true if valueToFind is a member of the array, and false otherwise. ------------------------------------------------------------------------------------ function p.inArray(arr, valueToFind) checkType("inArray", 1, arr, "table") -- if valueToFind is nil, error? for _, v in ipairs(arr) do if v == valueToFind then return true end end return false end return p 085e7094ac84eb0132ee65822cf3f69cd8ba3d81 10 108 941 940 2023-06-09T18:09:51Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Category_handler]] wikitext text/x-wiki {{#invoke:Category handler|main}}<noinclude> {{documentation}} <!-- Add categories to the /doc subpage, and interwikis to Wikidata. --> </noinclude> d14e9f545cf1833acbe174ae70b615c39b18cf63 828 109 943 942 2023-06-09T18:09:52Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Category_handler]] Scribunto text/plain -------------------------------------------------------------------------------- -- -- -- CATEGORY HANDLER -- -- -- -- This module implements the {{category handler}} template in Lua, -- -- with a few improvements: all namespaces and all namespace aliases -- -- are supported, and namespace names are detected automatically for -- -- the local wiki. This module requires [[Module:Namespace detect]] -- -- and [[Module:Yesno]] to be available on the local wiki. It can be -- -- configured for different wikis by altering the values in -- -- [[Module:Category handler/config]], and pages can be blacklisted -- -- from categorisation by using [[Module:Category handler/blacklist]]. -- -- -- -------------------------------------------------------------------------------- -- Load required modules local yesno = require('Module:Yesno') -- Lazily load things we don't always need local mShared, mappings local p = {} -------------------------------------------------------------------------------- -- Helper functions -------------------------------------------------------------------------------- local function trimWhitespace(s, removeBlanks) if type(s) ~= 'string' then return s end s = s:match('^%s*(.-)%s*$') if removeBlanks then if s ~= '' then return s else return nil end else return s end end -------------------------------------------------------------------------------- -- CategoryHandler class -------------------------------------------------------------------------------- local CategoryHandler = {} CategoryHandler.__index = CategoryHandler function CategoryHandler.new(data, args) local obj = setmetatable({ _data = data, _args = args }, CategoryHandler) -- Set the title object do local pagename = obj:parameter('demopage') local success, titleObj if pagename then success, titleObj = pcall(mw.title.new, pagename) end if success and titleObj then obj.title = titleObj if titleObj == mw.title.getCurrentTitle() then obj._usesCurrentTitle = true end else obj.title = mw.title.getCurrentTitle() obj._usesCurrentTitle = true end end -- Set suppression parameter values for _, key in ipairs{'nocat', 'categories'} do local value = obj:parameter(key) value = trimWhitespace(value, true) obj['_' .. key] = yesno(value) end do local subpage = obj:parameter('subpage') local category2 = obj:parameter('category2') if type(subpage) == 'string' then subpage = mw.ustring.lower(subpage) end if type(category2) == 'string' then subpage = mw.ustring.lower(category2) end obj._subpage = trimWhitespace(subpage, true) obj._category2 = trimWhitespace(category2) -- don't remove blank values end return obj end function CategoryHandler:parameter(key) local parameterNames = self._data.parameters[key] local pntype = type(parameterNames) if pntype == 'string' or pntype == 'number' then return self._args[parameterNames] elseif pntype == 'table' then for _, name in ipairs(parameterNames) do local value = self._args[name] if value ~= nil then return value end end return nil else error(string.format( 'invalid config key "%s"', tostring(key) ), 2) end end function CategoryHandler:isSuppressedByArguments() return -- See if a category suppression argument has been set. self._nocat == true or self._categories == false or ( self._category2 and self._category2 ~= self._data.category2Yes and self._category2 ~= self._data.category2Negative ) -- Check whether we are on a subpage, and see if categories are -- suppressed based on our subpage status. or self._subpage == self._data.subpageNo and self.title.isSubpage or self._subpage == self._data.subpageOnly and not self.title.isSubpage end function CategoryHandler:shouldSkipBlacklistCheck() -- Check whether the category suppression arguments indicate we -- should skip the blacklist check. return self._nocat == false or self._categories == true or self._category2 == self._data.category2Yes end function CategoryHandler:matchesBlacklist() if self._usesCurrentTitle then return self._data.currentTitleMatchesBlacklist else mShared = mShared or require('Module:Category handler/shared') return mShared.matchesBlacklist( self.title.prefixedText, mw.loadData('Module:Category handler/blacklist') ) end end function CategoryHandler:isSuppressed() -- Find if categories are suppressed by either the arguments or by -- matching the blacklist. return self:isSuppressedByArguments() or not self:shouldSkipBlacklistCheck() and self:matchesBlacklist() end function CategoryHandler:getNamespaceParameters() if self._usesCurrentTitle then return self._data.currentTitleNamespaceParameters else if not mappings then mShared = mShared or require('Module:Category handler/shared') mappings = mShared.getParamMappings(true) -- gets mappings with mw.loadData end return mShared.getNamespaceParameters( self.title, mappings ) end end function CategoryHandler:namespaceParametersExist() -- Find whether any namespace parameters have been specified. -- We use the order "all" --> namespace params --> "other" as this is what -- the old template did. if self:parameter('all') then return true end if not mappings then mShared = mShared or require('Module:Category handler/shared') mappings = mShared.getParamMappings(true) -- gets mappings with mw.loadData end for ns, params in pairs(mappings) do for i, param in ipairs(params) do if self._args[param] then return true end end end if self:parameter('other') then return true end return false end function CategoryHandler:getCategories() local params = self:getNamespaceParameters() local nsCategory for i, param in ipairs(params) do local value = self._args[param] if value ~= nil then nsCategory = value break end end if nsCategory ~= nil or self:namespaceParametersExist() then -- Namespace parameters exist - advanced usage. if nsCategory == nil then nsCategory = self:parameter('other') end local ret = {self:parameter('all')} local numParam = tonumber(nsCategory) if numParam and numParam >= 1 and math.floor(numParam) == numParam then -- nsCategory is an integer ret[#ret + 1] = self._args[numParam] else ret[#ret + 1] = nsCategory end if #ret < 1 then return nil else return table.concat(ret) end elseif self._data.defaultNamespaces[self.title.namespace] then -- Namespace parameters don't exist, simple usage. return self._args[1] end return nil end -------------------------------------------------------------------------------- -- Exports -------------------------------------------------------------------------------- local p = {} function p._exportClasses() -- Used for testing purposes. return { CategoryHandler = CategoryHandler } end function p._main(args, data) data = data or mw.loadData('Module:Category handler/data') local handler = CategoryHandler.new(data, args) if handler:isSuppressed() then return nil end return handler:getCategories() end function p.main(frame, data) data = data or mw.loadData('Module:Category handler/data') local args = require('Module:Arguments').getArgs(frame, { wrappers = data.wrappers, valueFunc = function (k, v) v = trimWhitespace(v) if type(k) == 'number' then if v ~= '' then return v else return nil end else return v end end }) return p._main(args, data) end return p b74dd63857b24904ac452429b11213f18647471f 828 110 945 944 2023-06-09T18:09:52Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Category_handler/data]] Scribunto text/plain -- This module assembles data to be passed to [[Module:Category handler]] using -- mw.loadData. This includes the configuration data and whether the current -- page matches the title blacklist. local data = require('Module:Category handler/config') local mShared = require('Module:Category handler/shared') local blacklist = require('Module:Category handler/blacklist') local title = mw.title.getCurrentTitle() data.currentTitleMatchesBlacklist = mShared.matchesBlacklist( title.prefixedText, blacklist ) data.currentTitleNamespaceParameters = mShared.getNamespaceParameters( title, mShared.getParamMappings() ) return data abbc68048ff698e88dda06b64ecf384bbf583120 828 111 947 946 2023-06-09T18:09:53Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Category_handler/config]] Scribunto text/plain -------------------------------------------------------------------------------- -- [[Module:Category handler]] configuration data -- -- Language-specific parameter names and values can be set here. -- -- For blacklist config, see [[Module:Category handler/blacklist]]. -- -------------------------------------------------------------------------------- local cfg = {} -- Don't edit this line. -------------------------------------------------------------------------------- -- Start configuration data -- -------------------------------------------------------------------------------- -------------------------------------------------------------------------------- -- Parameter names -- -- These configuration items specify custom parameter names. -- -- To add one extra name, you can use this format: -- -- -- -- foo = 'parameter name', -- -- -- -- To add multiple names, you can use this format: -- -- -- -- foo = {'parameter name 1', 'parameter name 2', 'parameter name 3'}, -- -------------------------------------------------------------------------------- cfg.parameters = { -- The nocat and categories parameter suppress -- categorisation. They are used with Module:Yesno, and work as follows: -- -- cfg.nocat: -- Result of yesno() Effect -- true Categorisation is suppressed -- false Categorisation is allowed, and -- the blacklist check is skipped -- nil Categorisation is allowed -- -- cfg.categories: -- Result of yesno() Effect -- true Categorisation is allowed, and -- the blacklist check is skipped -- false Categorisation is suppressed -- nil Categorisation is allowed nocat = 'nocat', categories = 'categories', -- The parameter name for the legacy "category2" parameter. This skips the -- blacklist if set to the cfg.category2Yes value, and suppresses -- categorisation if present but equal to anything other than -- cfg.category2Yes or cfg.category2Negative. category2 = 'category2', -- cfg.subpage is the parameter name to specify how to behave on subpages. subpage = 'subpage', -- The parameter for data to return in all namespaces. all = 'all', -- The parameter name for data to return if no data is specified for the -- namespace that is detected. other = 'other', -- The parameter name used to specify a page other than the current page; -- used for testing and demonstration. demopage = 'page', } -------------------------------------------------------------------------------- -- Parameter values -- -- These are set values that can be used with certain parameters. Only one -- -- value can be specified, like this: -- -- -- -- cfg.foo = 'value name' -- -- -------------------------------------------------------------------------------- -- The following settings are used with the cfg.category2 parameter. Setting -- cfg.category2 to cfg.category2Yes skips the blacklist, and if cfg.category2 -- is present but equal to anything other than cfg.category2Yes or -- cfg.category2Negative then it supresses cateogrisation. cfg.category2Yes = 'yes' cfg.category2Negative = '¬' -- The following settings are used with the cfg.subpage parameter. -- cfg.subpageNo is the value to specify to not categorise on subpages; -- cfg.subpageOnly is the value to specify to only categorise on subpages. cfg.subpageNo = 'no' cfg.subpageOnly = 'only' -------------------------------------------------------------------------------- -- Default namespaces -- -- This is a table of namespaces to categorise by default. The keys are the -- -- namespace numbers. -- -------------------------------------------------------------------------------- cfg.defaultNamespaces = { [ 0] = true, -- main [ 6] = true, -- file [ 12] = true, -- help [ 14] = true, -- category [100] = true, -- portal [108] = true, -- book } -------------------------------------------------------------------------------- -- Wrappers -- -- This is a wrapper template or a list of wrapper templates to be passed to -- -- [[Module:Arguments]]. -- -------------------------------------------------------------------------------- cfg.wrappers = 'Template:Category handler' -------------------------------------------------------------------------------- -- End configuration data -- -------------------------------------------------------------------------------- return cfg -- Don't edit this line. 373cd107b13a5b00e6a1b7e66a749f12502c849d 828 112 949 948 2023-06-09T18:09:54Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Category_handler/shared]] Scribunto text/plain -- This module contains shared functions used by [[Module:Category handler]] -- and its submodules. local p = {} function p.matchesBlacklist(page, blacklist) for i, pattern in ipairs(blacklist) do local match = mw.ustring.match(page, pattern) if match then return true end end return false end function p.getParamMappings(useLoadData) local dataPage = 'Module:Namespace detect/data' if useLoadData then return mw.loadData(dataPage).mappings else return require(dataPage).mappings end end function p.getNamespaceParameters(titleObj, mappings) -- We don't use title.nsText for the namespace name because it adds -- underscores. local mappingsKey if titleObj.isTalkPage then mappingsKey = 'talk' else mappingsKey = mw.site.namespaces[titleObj.namespace].name end mappingsKey = mw.ustring.lower(mappingsKey) return mappings[mappingsKey] or {} end return p d2d5de1a031e6ce97c242cbfa8afe7a92cb9eca5 828 113 951 950 2023-06-09T18:09:54Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Category_handler/blacklist]] Scribunto text/plain -- This module contains the blacklist used by [[Module:Category handler]]. -- Pages that match Lua patterns in this list will not be categorised unless -- categorisation is explicitly requested. return { '^Main Page$', -- don't categorise the main page. -- Don't categorise the following pages or their subpages. -- "%f[/\0]" matches if the next character is "/" or the end of the string. '^Wikipedia:Cascade%-protected items%f[/\0]', '^User:UBX%f[/\0]', -- The userbox "template" space. '^User talk:UBX%f[/\0]', -- Don't categorise subpages of these pages, but allow -- categorisation of the base page. '^Wikipedia:Template index/.*$', -- Don't categorise archives. '/[aA]rchive', "^Wikipedia:Administrators' noticeboard/IncidentArchive%d+$", } 87469d7a9ef2a3c41b2bf04ae18f7c59a18fb855 10 114 953 952 2023-06-09T18:09:55Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Fix]] wikitext text/x-wiki {{#switch:{{{subst|¬}}} |¬={{category handler |template=[[Category:Templates needing substitution checking]] |nocat={{{nocat|<noinclude>true</noinclude>}}} }} |SUBST=[[Category:Pages with incorrectly substituted templates]] }}{{Category handler |main={{Fix/category |cat-date={{{cat-date|}}} |cat={{{cat|}}} |cat-date2={{{cat-date2|}}} |cat2={{{cat2|}}} |cat-date3={{{cat-date3|}}} |cat3={{{cat3|}}} |date={{{date|}}} }} |template={{#if:{{{name|}}}|{{#ifeq:{{{name}}}|{{ROOTPAGENAME}}||{{#if:{{{date|}}}||[[Category:Templates including undated clean-up tags]]}}}}}} |subpage=no }}{{#if:{{{text|}}} |<sup class="noprint Inline-Template {{{class|}}}" style="white-space:nowrap;">&#91;<i>{{#if:{{{pre-text|}}} |{{{pre-text}}}&#32; }}[[{{{link|Wikipedia:Cleanup}}}|<span title="{{#invoke:string|replace|source={{delink|1={{{title|{{{link|Wikipedia:Cleanup}}}}}}{{#if:{{{date|}}}|&#32;({{{date}}})}}}}|pattern=" |replace=&quot; |plain=true}}">{{{text|}}}</span>]]{{#if:{{{post-text|}}} |&#32;{{{post-text}}} }}</i>&#93;</sup>|{{{special|}}} }}<noinclude> {{Documentation}} <!-- Add cats and interwikis to the /doc subpage, not here! --> </noinclude> 64d5219edf0f07567b3006bfc9681f9408b164b0 10 115 955 954 2023-06-09T18:09:55Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Delink]] wikitext text/x-wiki {{<includeonly>safesubst:</includeonly>#invoke:delink|delink}}<noinclude> {{documentation}} <!-- Categories go on the /doc subpage, and interwikis go on Wikidata. --> </noinclude> ccf86b4255142fffb206ab8240f36ed22e029d6a 828 116 957 956 2023-06-09T18:09:55Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Delink]] Scribunto text/plain -- This module de-links most wikitext. require("strict") local p = {} local getArgs local function delinkReversePipeTrick(s) if s:match("^%[%[|.*[|\n]") then -- Check for newlines or multiple pipes. return s end return s:match("%[%[|(.*)%]%]") end local function delinkPipeTrick(s) -- We need to deal with colons, brackets, and commas, per [[Help:Pipe trick]]. -- First, remove the text before the first colon, if any. if s:match(":") then s = s:match("%[%[.-:(.*)|%]%]") -- If there are no colons, grab all of the text apart from the square brackets and the pipe. else s = s:match("%[%[(.*)|%]%]") end -- Next up, brackets and commas. if s:match("%(.-%)$") then -- Brackets trump commas. s = s:match("(.-) ?%(.-%)$") elseif s:match(",") then -- If there are no brackets, display only the text before the first comma. s = s:match("(.-),.*$") end return s end -- Return wikilink target |wikilinks=target local function getDelinkedTarget(s) local result = s -- Deal with the reverse pipe trick. if result:match("%[%[|") then return delinkReversePipeTrick(result) end result = mw.uri.decode(result, "PATH") -- decode percent-encoded entities. Leave underscores and plus signs. result = mw.text.decode(result, true) -- decode HTML entities. -- Check for bad titles. To do this we need to find the -- title area of the link, i.e. the part before any pipes. local target_area if result:match("|") then -- Find if we're dealing with a piped link. target_area = result:match("^%[%[(.-)|.*%]%]") else target_area = result:match("^%[%[(.-)%]%]") end -- Check for bad characters. if mw.ustring.match(target_area, "[%[%]<>{}%%%c\n]") and mw.ustring.match(target_area, "[%[%]<>{}%%%c\n]") ~= "?" then return s end return target_area end local function getDelinkedLabel(s) local result = s -- Deal with the reverse pipe trick. if result:match("%[%[|") then return delinkReversePipeTrick(result) end result = mw.uri.decode(result, "PATH") -- decode percent-encoded entities. Leave underscores and plus signs. result = mw.text.decode(result, true) -- decode HTML entities. -- Check for bad titles. To do this we need to find the -- title area of the link, i.e. the part before any pipes. local target_area if result:match("|") then -- Find if we're dealing with a piped link. target_area = result:match("^%[%[(.-)|.*%]%]") else target_area = result:match("^%[%[(.-)%]%]") end -- Check for bad characters. if mw.ustring.match(target_area, "[%[%]<>{}%%%c\n]") and mw.ustring.match(target_area, "[%[%]<>{}%%%c\n]") ~= "?" then return s end -- Check for categories, interwikis, and files. local colon_prefix = result:match("%[%[(.-):.*%]%]") or "" -- Get the text before the first colon. local ns = mw.site.namespaces[colon_prefix] -- see if this is a known namespace if mw.language.isKnownLanguageTag(colon_prefix) or (ns and (ns.canonicalName == "File" or ns.canonicalName == "Category")) then return "" end -- Remove the colon if the link is using the [[Help:Colon trick]]. if result:match("%[%[:") then result = "[[" .. result:match("%[%[:(.*%]%])") end -- Deal with links using the [[Help:Pipe trick]]. if mw.ustring.match(result, "^%[%[[^|]*|%]%]") then return delinkPipeTrick(result) end -- Find the display area of the wikilink if result:match("|") then -- Find if we're dealing with a piped link. result = result:match("^%[%[.-|(.+)%]%]") -- Remove new lines from the display of multiline piped links, -- where the pipe is before the first new line. result = result:gsub("\n", "") else result = result:match("^%[%[(.-)%]%]") end return result end local function delinkURL(s) -- Assume we have already delinked internal wikilinks, and that -- we have been passed some text between two square brackets [foo]. -- If the text contains a line break it is not formatted as a URL, regardless of other content. if s:match("\n") then return s end -- Check if the text has a valid URL prefix and at least one valid URL character. local valid_url_prefixes = {"//", "http://", "https://", "ftp://", "gopher://", "mailto:", "news:", "irc://"} local url_prefix for _ ,v in ipairs(valid_url_prefixes) do if mw.ustring.match(s, '^%[' .. v ..'[^"%s].*%]' ) then url_prefix = v break end end -- Get display text if not url_prefix then return s end s = s:match("^%[" .. url_prefix .. "(.*)%]") -- Grab all of the text after the URL prefix and before the final square bracket. s = s:match('^.-(["<> ].*)') or "" -- Grab all of the text after the first URL separator character ("<> ). s = mw.ustring.match(s, "^%s*(%S.*)$") or "" -- If the separating character was a space, trim it off. local s_decoded = mw.text.decode(s, true) if mw.ustring.match(s_decoded, "%c") then return s end return s_decoded end local function delinkLinkClass(text, pattern, delinkFunction) if type(text) ~= "string" then error("Attempt to de-link non-string input.", 2) end if type(pattern) ~= "string" or mw.ustring.sub(pattern, 1, 1) ~= "^" then error('Invalid pattern detected. Patterns must begin with "^".', 2) end -- Iterate over the text string, and replace any matched text. using the -- delink function. We need to iterate character by character rather -- than just use gsub, otherwise nested links aren't detected properly. local result = "" while text ~= "" do -- Replace text using one iteration of gsub. text = mw.ustring.gsub(text, pattern, delinkFunction, 1) -- Append the left-most character to the result string. result = result .. mw.ustring.sub(text, 1, 1) text = mw.ustring.sub(text, 2, -1) end return result end function p._delink(args) local text = args[1] or "" if args.refs == "yes" then -- Remove any [[Help:Strip markers]] representing ref tags. In most situations -- this is not a good idea - only use it if you know what you are doing! text = mw.ustring.gsub(text, "UNIQ%w*%-ref%-%d*%-QINU", "") end if args.comments ~= "no" then text = text:gsub("<!%-%-.-%-%->", "") -- Remove html comments. end if args.wikilinks ~= "no" and args.wikilinks ~= "target" then -- De-link wikilinks and return the label portion of the wikilink. text = delinkLinkClass(text, "^%[%[.-%]%]", getDelinkedLabel) elseif args.wikilinks == "target" then -- De-link wikilinks and return the target portions of the wikilink. text = delinkLinkClass(text, "^%[%[.-%]%]", getDelinkedTarget) end if args.urls ~= "no" then text = delinkLinkClass(text, "^%[.-%]", delinkURL) -- De-link URLs. end if args.whitespace ~= "no" then -- Replace single new lines with a single space, but leave double new lines -- and new lines only containing spaces or tabs before a second new line. text = mw.ustring.gsub(text, "([^\n \t][ \t]*)\n([ \t]*[^\n \t])", "%1 %2") text = text:gsub("[ \t]+", " ") -- Remove extra tabs and spaces. end return text end function p.delink(frame) if not getArgs then getArgs = require('Module:Arguments').getArgs end return p._delink(getArgs(frame, {wrappers = 'Template:Delink'})) end return p 5b8e75ac750b5d3ed76cc4158aefcd1568a6a6fd 828 117 959 958 2023-06-09T18:09:56Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Template_link_general]] Scribunto text/plain -- This implements Template:Tlg local getArgs = require('Module:Arguments').getArgs local p = {} -- Is a string non-empty? local function _ne(s) return s ~= nil and s ~= "" end local nw = mw.text.nowiki local function addTemplate(s) local i, _ = s:find(':', 1, true) if i == nil then return 'Template:' .. s end local ns = s:sub(1, i - 1) if ns == '' or mw.site.namespaces[ns] then return s else return 'Template:' .. s end end local function trimTemplate(s) local needle = 'template:' if s:sub(1, needle:len()):lower() == needle then return s:sub(needle:len() + 1) else return s end end local function linkTitle(args) if _ne(args.nolink) then return args['1'] end local titleObj local titlePart = '[[' if args['1'] then -- This handles :Page and other NS titleObj = mw.title.new(args['1'], 'Template') else titleObj = mw.title.getCurrentTitle() end titlePart = titlePart .. (titleObj ~= nil and titleObj.fullText or addTemplate(args['1'])) local textPart = args.alttext if not _ne(textPart) then if titleObj ~= nil then textPart = titleObj:inNamespace("Template") and args['1'] or titleObj.fullText else -- redlink textPart = args['1'] end end if _ne(args.subst) then -- HACK: the ns thing above is probably broken textPart = 'subst:' .. textPart end if _ne(args.brace) then textPart = nw('{{') .. textPart .. nw('}}') elseif _ne(args.braceinside) then textPart = nw('{') .. textPart .. nw('}') end titlePart = titlePart .. '|' .. textPart .. ']]' if _ne(args.braceinside) then titlePart = nw('{') .. titlePart .. nw('}') end return titlePart end function p.main(frame) local args = getArgs(frame, { trim = true, removeBlanks = false }) return p._main(args) end function p._main(args) local bold = _ne(args.bold) or _ne(args.boldlink) or _ne(args.boldname) local italic = _ne(args.italic) or _ne(args.italics) local dontBrace = _ne(args.brace) or _ne(args.braceinside) local code = _ne(args.code) or _ne(args.tt) local show_result = _ne(args._show_result) local expand = _ne(args._expand) -- Build the link part local titlePart = linkTitle(args) if bold then titlePart = "'''" .. titlePart .. "'''" end if _ne(args.nowrapname) then titlePart = '<span class="nowrap">' .. titlePart .. '</span>' end -- Build the arguments local textPart = "" local textPartBuffer = "&#124;" local codeArguments = {} local codeArgumentsString = "" local i = 2 local j = 1 while args[i] do local val = args[i] if val ~= "" then if _ne(args.nowiki) then -- Unstrip nowiki tags first because calling nw on something that already contains nowiki tags will -- mangle the nowiki strip marker and result in literal UNIQ...QINU showing up val = nw(mw.text.unstripNoWiki(val)) end local k, v = string.match(val, "(.*)=(.*)") if not k then codeArguments[j] = val j = j + 1 else codeArguments[k] = v end codeArgumentsString = codeArgumentsString .. textPartBuffer .. val if italic then val = '<span style="font-style:italic;">' .. val .. '</span>' end textPart = textPart .. textPartBuffer .. val end i = i + 1 end -- final wrap local ret = titlePart .. textPart if not dontBrace then ret = nw('{{') .. ret .. nw('}}') end if _ne(args.a) then ret = nw('*') .. '&nbsp;' .. ret end if _ne(args.kbd) then ret = '<kbd>' .. ret .. '</kbd>' end if code then ret = '<code>' .. ret .. '</code>' elseif _ne(args.plaincode) then ret = '<code style="border:none;background:transparent;">' .. ret .. '</code>' end if _ne(args.nowrap) then ret = '<span class="nowrap">' .. ret .. '</span>' end --[[ Wrap as html?? local span = mw.html.create('span') span:wikitext(ret) --]] if _ne(args.debug) then ret = ret .. '\n<pre>' .. mw.text.encode(mw.dumpObject(args)) .. '</pre>' end if show_result then local result = mw.getCurrentFrame():expandTemplate{title = addTemplate(args[1]), args = codeArguments} ret = ret .. " → " .. result end if expand then local query = mw.text.encode('{{' .. addTemplate(args[1]) .. string.gsub(codeArgumentsString, textPartBuffer, "|") .. '}}') local url = mw.uri.fullUrl('special:ExpandTemplates', 'wpInput=' .. query) mw.log() ret = ret .. " [" .. tostring(url) .. "]" end return ret end return p c7307fa3959d308a2dd7fd2f5009c1ce6db3d122 10 118 961 960 2023-06-09T18:09:56Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Template_other]] wikitext text/x-wiki {{#switch: <!--If no or empty "demospace" parameter then detect namespace--> {{#if:{{{demospace|}}} | {{lc: {{{demospace}}} }} <!--Use lower case "demospace"--> | {{#ifeq:{{NAMESPACE}}|{{ns:Template}} | template | other }} }} | template = {{{1|}}} | other | #default = {{{2|}}} }}<!--End switch--><noinclude> {{documentation}} <!-- Add categories and interwikis to the /doc subpage, not here! --> </noinclude> 06fb13d264df967b5232141067eb7d2b67372d76 10 119 963 962 2023-06-09T18:09:56Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Xt]] wikitext text/x-wiki {{#ifeq:{{NAMESPACE}}|{{ns:0}}|{{FormattingError|[[:{{#invoke:TEMPLATENAME|main}}]] is only for examples of style and formatting. Do not use it in actual articles.}}|<span class="example" style="font-family: Georgia, 'DejaVu Serif', serif; color: #006400;" {{#if:{{{title|}}}|title="{{{title}}}"}}>{{{1|Example text}}}</span>}}<noinclude> {{Documentation}} </noinclude> e8c5895953384f68b9648a698f7f33d79748e408 10 120 965 964 2023-06-09T18:09:57Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:!xt]] wikitext text/x-wiki {{#ifeq:{{NAMESPACE}}|{{ns:0}}|{{FormattingError|[[:{{#invoke:TEMPLATENAME|main}}]] is only for examples of style and formatting. Do not use it in actual articles.}}|<span class="example deprecated-content example-bad" style="font-family: Georgia, 'DejaVu Serif', serif; color: #8B0000;" {{#if:{{{title|}}}|title="{{{title}}}"}}>{{{1|Example text}}}</span>}}<noinclude> {{Documentation}} </noinclude> 5c54359c619901a0b19422399dc9a3e324e02879 10 121 967 966 2023-06-09T18:09:57Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Icon]] wikitext text/x-wiki {{#invoke:Icon|main}}<noinclude> {{documentation}} <!-- Categories go on the /doc subpage, and interwikis go on Wikidata. --> </noinclude> bd5b855953c5eec9d9c48400aa39315cb4218558 10 122 969 968 2023-06-09T18:09:57Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Navbox]] wikitext text/x-wiki <includeonly>{{#invoke:Navbox|navbox}}</includeonly><noinclude> {{Documentation}} </noinclude> fe9b964401f895918ee4fe078678f1722a3c41ec 828 123 971 970 2023-06-09T18:09:58Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Effective_protection_expiry]] Scribunto text/plain local p = {} -- Returns the expiry of a restriction of an action on a given title, or unknown if it cannot be known. -- If no title is specified, the title of the page being displayed is used. function p._main(action, pagename) local title if type(pagename) == 'table' and pagename.prefixedText then title = pagename elseif pagename then title = mw.title.new(pagename) else title = mw.title.getCurrentTitle() end pagename = title.prefixedText if action == 'autoreview' then local stabilitySettings = mw.ext.FlaggedRevs.getStabilitySettings(title) return stabilitySettings and stabilitySettings.expiry or 'unknown' elseif action ~= 'edit' and action ~= 'move' and action ~= 'create' and action ~= 'upload' then error( 'First parameter must be one of edit, move, create, upload, autoreview', 2 ) end local rawExpiry = mw.getCurrentFrame():callParserFunction('PROTECTIONEXPIRY', action, pagename) if rawExpiry == 'infinity' then return 'infinity' elseif rawExpiry == '' then return 'unknown' else local year, month, day, hour, minute, second = rawExpiry:match( '^(%d%d%d%d)(%d%d)(%d%d)(%d%d)(%d%d)(%d%d)$' ) if year then return string.format( '%s-%s-%sT%s:%s:%s', year, month, day, hour, minute, second ) else error('internal error in Module:Effective protection expiry; malformed expiry timestamp') end end end setmetatable(p, { __index = function(t, k) return function(frame) return t._main(k, frame.args[1]) end end }) return p 9a8c58dc2667232ed08a9b206a5d89ca8150312b 828 124 973 972 2023-06-09T18:09:58Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Effective_protection_level]] Scribunto text/plain local p = {} -- Returns the permission required to perform a given action on a given title. -- If no title is specified, the title of the page being displayed is used. function p._main(action, pagename) local title if type(pagename) == 'table' and pagename.prefixedText then title = pagename elseif pagename then title = mw.title.new(pagename) else title = mw.title.getCurrentTitle() end pagename = title.prefixedText if action == 'autoreview' then local level = mw.ext.FlaggedRevs.getStabilitySettings(title) level = level and level.autoreview if level == 'review' then return 'reviewer' elseif level ~= '' then return level else return nil -- not '*'. a page not being PC-protected is distinct from it being PC-protected with anyone able to review. also not '', as that would mean PC-protected but nobody can review end elseif action ~= 'edit' and action ~= 'move' and action ~= 'create' and action ~= 'upload' and action ~= 'undelete' then error( 'First parameter must be one of edit, move, create, upload, undelete, autoreview', 2 ) end if title.namespace == 8 then -- MediaWiki namespace if title.text:sub(-3) == '.js' or title.text:sub(-4) == '.css' or title.contentModel == 'javascript' or title.contentModel == 'css' then -- site JS or CSS page return 'interfaceadmin' else -- any non-JS/CSS MediaWiki page return 'sysop' end elseif title.namespace == 2 and title.isSubpage then if title.contentModel == 'javascript' or title.contentModel == 'css' then -- user JS or CSS page return 'interfaceadmin' elseif title.contentModel == 'json' then -- user JSON page return 'sysop' end end if action == 'undelete' then return 'sysop' end local level = title.protectionLevels[action] and title.protectionLevels[action][1] if level == 'sysop' or level == 'editprotected' then return 'sysop' elseif title.cascadingProtection.restrictions[action] and title.cascadingProtection.restrictions[action][1] then -- used by a cascading-protected page return 'sysop' elseif level == 'templateeditor' then return 'templateeditor' elseif action == 'move' then local blacklistentry = mw.ext.TitleBlacklist.test('edit', pagename) -- Testing action edit is correct, since this is for the source page. The target page name gets tested with action move. if blacklistentry and not blacklistentry.params.autoconfirmed then return 'templateeditor' elseif title.namespace == 6 then return 'filemover' elseif level == 'extendedconfirmed' then return 'extendedconfirmed' else return 'autoconfirmed' end end local blacklistentry = mw.ext.TitleBlacklist.test(action, pagename) if blacklistentry then if not blacklistentry.params.autoconfirmed then return 'templateeditor' elseif level == 'extendedconfirmed' then return 'extendedconfirmed' else return 'autoconfirmed' end elseif level == 'editsemiprotected' then -- create-semiprotected pages return this for some reason return 'autoconfirmed' elseif level then return level elseif action == 'upload' then return 'autoconfirmed' elseif action == 'create' and title.namespace % 2 == 0 and title.namespace ~= 118 then -- You need to be registered, but not autoconfirmed, to create non-talk pages other than drafts return 'user' else return '*' end end setmetatable(p, { __index = function(t, k) return function(frame) return t._main(k, frame.args[1]) end end }) return p 70256a489edf6be9808031b14a7e3ef3e025da97 828 125 975 974 2023-06-09T18:09:58Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:File_link]] Scribunto text/plain -- This module provides a library for formatting file wikilinks. local yesno = require('Module:Yesno') local checkType = require('libraryUtil').checkType local p = {} function p._main(args) checkType('_main', 1, args, 'table') -- This is basically libraryUtil.checkTypeForNamedArg, but we are rolling our -- own function to get the right error level. local function checkArg(key, val, level) if type(val) ~= 'string' then error(string.format( "type error in '%s' parameter of '_main' (expected string, got %s)", key, type(val) ), level) end end local ret = {} -- Adds a positional parameter to the buffer. local function addPositional(key) local val = args[key] if not val then return nil end checkArg(key, val, 4) ret[#ret + 1] = val end -- Adds a named parameter to the buffer. We assume that the parameter name -- is the same as the argument key. local function addNamed(key) local val = args[key] if not val then return nil end checkArg(key, val, 4) ret[#ret + 1] = key .. '=' .. val end -- Filename checkArg('file', args.file, 3) ret[#ret + 1] = 'File:' .. args.file -- Format if args.format then checkArg('format', args.format) if args.formatfile then checkArg('formatfile', args.formatfile) ret[#ret + 1] = args.format .. '=' .. args.formatfile else ret[#ret + 1] = args.format end end -- Border if yesno(args.border) then ret[#ret + 1] = 'border' end addPositional('location') addPositional('alignment') addPositional('size') addNamed('upright') addNamed('link') addNamed('alt') addNamed('page') addNamed('class') addNamed('lang') addNamed('start') addNamed('end') addNamed('thumbtime') addPositional('caption') return string.format('[[%s]]', table.concat(ret, '|')) end function p.main(frame) local origArgs = require('Module:Arguments').getArgs(frame, { wrappers = 'Template:File link' }) if not origArgs.file then error("'file' parameter missing from [[Template:File link]]", 0) end -- Copy the arguments that were passed to a new table to avoid looking up -- every possible parameter in the frame object. local args = {} for k, v in pairs(origArgs) do -- Make _BLANK a special argument to add a blank parameter. For use in -- conditional templates etc. it is useful for blank arguments to be -- ignored, but we still need a way to specify them so that we can do -- things like [[File:Example.png|link=]]. if v == '_BLANK' then v = '' end args[k] = v end return p._main(args) end return p 66925f088d11530f2482f04181a3baaaa0ad3d0c 828 126 977 976 2023-06-09T18:09:59Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Format_link]] Scribunto text/plain -------------------------------------------------------------------------------- -- Format link -- -- Makes a wikilink from the given link and display values. Links are escaped -- with colons if necessary, and links to sections are detected and displayed -- with " § " as a separator rather than the standard MediaWiki "#". Used in -- the {{format link}} template. -------------------------------------------------------------------------------- local libraryUtil = require('libraryUtil') local checkType = libraryUtil.checkType local checkTypeForNamedArg = libraryUtil.checkTypeForNamedArg local mArguments -- lazily initialise [[Module:Arguments]] local mError -- lazily initialise [[Module:Error]] local yesno -- lazily initialise [[Module:Yesno]] local p = {} -------------------------------------------------------------------------------- -- Helper functions -------------------------------------------------------------------------------- local function getArgs(frame) -- Fetches the arguments from the parent frame. Whitespace is trimmed and -- blanks are removed. mArguments = require('Module:Arguments') return mArguments.getArgs(frame, {parentOnly = true}) end local function removeInitialColon(s) -- Removes the initial colon from a string, if present. return s:match('^:?(.*)') end local function maybeItalicize(s, shouldItalicize) -- Italicize s if s is a string and the shouldItalicize parameter is true. if s and shouldItalicize then return '<i>' .. s .. '</i>' else return s end end local function parseLink(link) -- Parse a link and return a table with the link's components. -- These components are: -- - link: the link, stripped of any initial colon (always present) -- - page: the page name (always present) -- - section: the page name (may be nil) -- - display: the display text, if manually entered after a pipe (may be nil) link = removeInitialColon(link) -- Find whether a faux display value has been added with the {{!}} magic -- word. local prePipe, display = link:match('^(.-)|(.*)$') link = prePipe or link -- Find the page, if it exists. -- For links like [[#Bar]], the page will be nil. local preHash, postHash = link:match('^(.-)#(.*)$') local page if not preHash then -- We have a link like [[Foo]]. page = link elseif preHash ~= '' then -- We have a link like [[Foo#Bar]]. page = preHash end -- Find the section, if it exists. local section if postHash and postHash ~= '' then section = postHash end return { link = link, page = page, section = section, display = display, } end local function formatDisplay(parsed, options) -- Formats a display string based on a parsed link table (matching the -- output of parseLink) and an options table (matching the input options for -- _formatLink). local page = maybeItalicize(parsed.page, options.italicizePage) local section = maybeItalicize(parsed.section, options.italicizeSection) if (not section) then return page elseif (not page) then return mw.ustring.format('§&nbsp;%s', section) else return mw.ustring.format('%s §&nbsp;%s', page, section) end end local function missingArgError(target) mError = require('Module:Error') return mError.error{message = 'Error: no link or target specified! ([[' .. target .. '#Errors|help]])' } end -------------------------------------------------------------------------------- -- Main functions -------------------------------------------------------------------------------- function p.formatLink(frame) -- The formatLink export function, for use in templates. yesno = require('Module:Yesno') local args = getArgs(frame) local link = args[1] or args.link local target = args[3] or args.target if not (link or target) then return missingArgError('Template:Format link') end return p._formatLink{ link = link, display = args[2] or args.display, target = target, italicizePage = yesno(args.italicizepage), italicizeSection = yesno(args.italicizesection), categorizeMissing = args.categorizemissing } end function p._formatLink(options) -- The formatLink export function, for use in modules. checkType('_formatLink', 1, options, 'table') local function check(key, expectedType) --for brevity checkTypeForNamedArg( '_formatLink', key, options[key], expectedType or 'string', true ) end check('link') check('display') check('target') check('italicizePage', 'boolean') check('italicizeSection', 'boolean') check('categorizeMissing') -- Normalize link and target and check that at least one is present if options.link == '' then options.link = nil end if options.target == '' then options.target = nil end if not (options.link or options.target) then return missingArgError('Module:Format link') end local parsed = parseLink(options.link) local display = options.display or parsed.display local catMissing = options.categorizeMissing local category = '' -- Find the display text if not display then display = formatDisplay(parsed, options) end -- Handle the target option if present if options.target then local parsedTarget = parseLink(options.target) parsed.link = parsedTarget.link parsed.page = parsedTarget.page end -- Test if page exists if a diagnostic category is specified if catMissing and (mw.ustring.len(catMissing) > 0) then local title = nil if parsed.page then title = mw.title.new(parsed.page) end if title and (not title.isExternal) then local success, exists = pcall(function() return title.exists end) if success and not exists then category = mw.ustring.format('[[Category:%s]]', catMissing) end end end -- Format the result as a link if parsed.link == display then return mw.ustring.format('[[:%s]]%s', parsed.link, category) else return mw.ustring.format('[[:%s|%s]]%s', parsed.link, display, category) end end -------------------------------------------------------------------------------- -- Derived convenience functions -------------------------------------------------------------------------------- function p.formatPages(options, pages) -- Formats an array of pages using formatLink and the given options table, -- and returns it as an array. Nil values are not allowed. local ret = {} for i, page in ipairs(pages) do ret[i] = p._formatLink{ link = page, categorizeMissing = options.categorizeMissing, italicizePage = options.italicizePage, italicizeSection = options.italicizeSection } end return ret end return p 1253bdd2683ee4badc33856bfd5499b09a7dca1f 828 127 979 978 2023-06-09T18:10:00Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Hatnote]] Scribunto text/plain -------------------------------------------------------------------------------- -- Module:Hatnote -- -- -- -- This module produces hatnote links and links to related articles. It -- -- implements the {{hatnote}} and {{format link}} meta-templates and includes -- -- helper functions for other Lua hatnote modules. -- -------------------------------------------------------------------------------- local libraryUtil = require('libraryUtil') local checkType = libraryUtil.checkType local checkTypeForNamedArg = libraryUtil.checkTypeForNamedArg local mArguments -- lazily initialise [[Module:Arguments]] local yesno -- lazily initialise [[Module:Yesno]] local formatLink -- lazily initialise [[Module:Format link]] ._formatLink local p = {} -------------------------------------------------------------------------------- -- Helper functions -------------------------------------------------------------------------------- local function getArgs(frame) -- Fetches the arguments from the parent frame. Whitespace is trimmed and -- blanks are removed. mArguments = require('Module:Arguments') return mArguments.getArgs(frame, {parentOnly = true}) end local function removeInitialColon(s) -- Removes the initial colon from a string, if present. return s:match('^:?(.*)') end function p.defaultClasses(inline) -- Provides the default hatnote classes as a space-separated string; useful -- for hatnote-manipulation modules like [[Module:Hatnote group]]. return (inline == 1 and 'hatnote-inline' or 'hatnote') .. ' ' .. 'navigation-not-searchable' end function p.disambiguate(page, disambiguator) -- Formats a page title with a disambiguation parenthetical, -- i.e. "Example" → "Example (disambiguation)". checkType('disambiguate', 1, page, 'string') checkType('disambiguate', 2, disambiguator, 'string', true) disambiguator = disambiguator or 'disambiguation' return mw.ustring.format('%s (%s)', page, disambiguator) end function p.findNamespaceId(link, removeColon) -- Finds the namespace id (namespace number) of a link or a pagename. This -- function will not work if the link is enclosed in double brackets. Colons -- are trimmed from the start of the link by default. To skip colon -- trimming, set the removeColon parameter to false. checkType('findNamespaceId', 1, link, 'string') checkType('findNamespaceId', 2, removeColon, 'boolean', true) if removeColon ~= false then link = removeInitialColon(link) end local namespace = link:match('^(.-):') if namespace then local nsTable = mw.site.namespaces[namespace] if nsTable then return nsTable.id end end return 0 end function p.makeWikitextError(msg, helpLink, addTrackingCategory, title) -- Formats an error message to be returned to wikitext. If -- addTrackingCategory is not false after being returned from -- [[Module:Yesno]], and if we are not on a talk page, a tracking category -- is added. checkType('makeWikitextError', 1, msg, 'string') checkType('makeWikitextError', 2, helpLink, 'string', true) yesno = require('Module:Yesno') title = title or mw.title.getCurrentTitle() -- Make the help link text. local helpText if helpLink then helpText = ' ([[' .. helpLink .. '|help]])' else helpText = '' end -- Make the category text. local category if not title.isTalkPage -- Don't categorise talk pages and title.namespace ~= 2 -- Don't categorise userspace and yesno(addTrackingCategory) ~= false -- Allow opting out then category = 'Hatnote templates with errors' category = mw.ustring.format( '[[%s:%s]]', mw.site.namespaces[14].name, category ) else category = '' end return mw.ustring.format( '<strong class="error">Error: %s%s.</strong>%s', msg, helpText, category ) end local curNs = mw.title.getCurrentTitle().namespace p.missingTargetCat = --Default missing target category, exported for use in related modules ((curNs == 0) or (curNs == 14)) and 'Articles with hatnote templates targeting a nonexistent page' or nil function p.quote(title) --Wraps titles in quotation marks. If the title starts/ends with a quotation --mark, kerns that side as with {{-'}} local quotationMarks = { ["'"]=true, ['"']=true, ['“']=true, ["‘"]=true, ['”']=true, ["’"]=true } local quoteLeft, quoteRight = -- Test if start/end are quotation marks quotationMarks[string.sub(title, 1, 1)], quotationMarks[string.sub(title, -1, -1)] if quoteLeft or quoteRight then title = mw.html.create("span"):wikitext(title) end if quoteLeft then title:css("padding-left", "0.15em") end if quoteRight then title:css("padding-right", "0.15em") end return '"' .. tostring(title) .. '"' end -------------------------------------------------------------------------------- -- Hatnote -- -- Produces standard hatnote text. Implements the {{hatnote}} template. -------------------------------------------------------------------------------- function p.hatnote(frame) local args = getArgs(frame) local s = args[1] if not s then return p.makeWikitextError( 'no text specified', 'Template:Hatnote#Errors', args.category ) end return p._hatnote(s, { extraclasses = args.extraclasses, selfref = args.selfref }) end function p._hatnote(s, options) checkType('_hatnote', 1, s, 'string') checkType('_hatnote', 2, options, 'table', true) options = options or {} local inline = options.inline local hatnote = mw.html.create(inline == 1 and 'span' or 'div') local extraclasses if type(options.extraclasses) == 'string' then extraclasses = options.extraclasses end hatnote :attr('role', 'note') :addClass(p.defaultClasses(inline)) :addClass(extraclasses) :addClass(options.selfref and 'selfref' or nil) :wikitext(s) return mw.getCurrentFrame():extensionTag{ name = 'templatestyles', args = { src = 'Module:Hatnote/styles.css' } } .. tostring(hatnote) end return p 3ae1ed7094c5005ca0896395ec9a587287a0bef1 828 128 981 980 2023-06-09T18:10:00Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Hatnote/styles.css]] text text/plain /* {{pp|small=y}} */ .hatnote { font-style: italic; } /* Limit structure CSS to divs because of [[Module:Hatnote inline]] */ div.hatnote { /* @noflip */ padding-left: 1.6em; margin-bottom: 0.5em; } .hatnote i { font-style: normal; } /* The templatestyles element inserts a link element before hatnotes. * TODO: Remove link if/when WMF resolves T200206 */ .hatnote + link + .hatnote { margin-top: -0.5em; } 44680ffd6e888866df2cdfa0341af9c7b97da94c 828 129 983 982 2023-06-09T18:10:00Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Hatnote_list]] Scribunto text/plain -------------------------------------------------------------------------------- -- Module:Hatnote list -- -- -- -- This module produces and formats lists for use in hatnotes. In particular, -- -- it implements the for-see list, i.e. lists of "For X, see Y" statements, -- -- as used in {{about}}, {{redirect}}, and their variants. Also introduced -- -- are andList & orList helpers for formatting lists with those conjunctions. -- -------------------------------------------------------------------------------- local mArguments --initialize lazily local mFormatLink = require('Module:Format link') local mHatnote = require('Module:Hatnote') local libraryUtil = require('libraryUtil') local checkType = libraryUtil.checkType local p = {} -------------------------------------------------------------------------------- -- List stringification helper functions -- -- These functions are used for stringifying lists, usually page lists inside -- the "Y" portion of "For X, see Y" for-see items. -------------------------------------------------------------------------------- --default options table used across the list stringification functions local stringifyListDefaultOptions = { conjunction = "and", separator = ",", altSeparator = ";", space = " ", formatted = false } --Searches display text only local function searchDisp(haystack, needle) return string.find( string.sub(haystack, (string.find(haystack, '|') or 0) + 1), needle ) end -- Stringifies a list generically; probably shouldn't be used directly local function stringifyList(list, options) -- Type-checks, defaults, and a shortcut checkType("stringifyList", 1, list, "table") if #list == 0 then return nil end checkType("stringifyList", 2, options, "table", true) options = options or {} for k, v in pairs(stringifyListDefaultOptions) do if options[k] == nil then options[k] = v end end local s = options.space -- Format the list if requested if options.formatted then list = mFormatLink.formatPages( {categorizeMissing = mHatnote.missingTargetCat}, list ) end -- Set the separator; if any item contains it, use the alternate separator local separator = options.separator for k, v in pairs(list) do if searchDisp(v, separator) then separator = options.altSeparator break end end -- Set the conjunction, apply Oxford comma, and force a comma if #1 has "§" local conjunction = s .. options.conjunction .. s if #list == 2 and searchDisp(list[1], "§") or #list > 2 then conjunction = separator .. conjunction end -- Return the formatted string return mw.text.listToText(list, separator .. s, conjunction) end --DRY function function p.conjList (conj, list, fmt) return stringifyList(list, {conjunction = conj, formatted = fmt}) end -- Stringifies lists with "and" or "or" function p.andList (...) return p.conjList("and", ...) end function p.orList (...) return p.conjList("or", ...) end -------------------------------------------------------------------------------- -- For see -- -- Makes a "For X, see [[Y]]." list from raw parameters. Intended for the -- {{about}} and {{redirect}} templates and their variants. -------------------------------------------------------------------------------- --default options table used across the forSee family of functions local forSeeDefaultOptions = { andKeyword = 'and', title = mw.title.getCurrentTitle().text, otherText = 'other uses', forSeeForm = 'For %s, see %s.', } --Collapses duplicate punctuation local function punctuationCollapse (text) local replacements = { ["%.%.$"] = ".", ["%?%.$"] = "?", ["%!%.$"] = "!", ["%.%]%]%.$"] = ".]]", ["%?%]%]%.$"] = "?]]", ["%!%]%]%.$"] = "!]]" } for k, v in pairs(replacements) do text = string.gsub(text, k, v) end return text end -- Structures arguments into a table for stringification, & options function p.forSeeArgsToTable (args, from, options) -- Type-checks and defaults checkType("forSeeArgsToTable", 1, args, 'table') checkType("forSeeArgsToTable", 2, from, 'number', true) from = from or 1 checkType("forSeeArgsToTable", 3, options, 'table', true) options = options or {} for k, v in pairs(forSeeDefaultOptions) do if options[k] == nil then options[k] = v end end -- maxArg's gotten manually because getArgs() and table.maxn aren't friends local maxArg = 0 for k, v in pairs(args) do if type(k) == 'number' and k > maxArg then maxArg = k end end -- Structure the data out from the parameter list: -- * forTable is the wrapper table, with forRow rows -- * Rows are tables of a "use" string & a "pages" table of pagename strings -- * Blanks are left empty for defaulting elsewhere, but can terminate list local forTable = {} local i = from local terminated = false -- If there is extra text, and no arguments are given, give nil value -- to not produce default of "For other uses, see foo (disambiguation)" if options.extratext and i > maxArg then return nil end -- Loop to generate rows repeat -- New empty row local forRow = {} -- On blank use, assume list's ended & break at end of this loop forRow.use = args[i] if not args[i] then terminated = true end -- New empty list of pages forRow.pages = {} -- Insert first pages item if present table.insert(forRow.pages, args[i + 1]) -- If the param after next is "and", do inner loop to collect params -- until the "and"'s stop. Blanks are ignored: "1|and||and|3" → {1, 3} while args[i + 2] == options.andKeyword do if args[i + 3] then table.insert(forRow.pages, args[i + 3]) end -- Increment to next "and" i = i + 2 end -- Increment to next use i = i + 2 -- Append the row table.insert(forTable, forRow) until terminated or i > maxArg return forTable end -- Stringifies a table as formatted by forSeeArgsToTable function p.forSeeTableToString (forSeeTable, options) -- Type-checks and defaults checkType("forSeeTableToString", 1, forSeeTable, "table", true) checkType("forSeeTableToString", 2, options, "table", true) options = options or {} for k, v in pairs(forSeeDefaultOptions) do if options[k] == nil then options[k] = v end end -- Stringify each for-see item into a list local strList = {} if forSeeTable then for k, v in pairs(forSeeTable) do local useStr = v.use or options.otherText local pagesStr = p.andList(v.pages, true) or mFormatLink._formatLink{ categorizeMissing = mHatnote.missingTargetCat, link = mHatnote.disambiguate(options.title) } local forSeeStr = string.format(options.forSeeForm, useStr, pagesStr) forSeeStr = punctuationCollapse(forSeeStr) table.insert(strList, forSeeStr) end end if options.extratext then table.insert(strList, punctuationCollapse(options.extratext..'.')) end -- Return the concatenated list return table.concat(strList, ' ') end -- Produces a "For X, see [[Y]]" string from arguments. Expects index gaps -- but not blank/whitespace values. Ignores named args and args < "from". function p._forSee (args, from, options) local forSeeTable = p.forSeeArgsToTable(args, from, options) return p.forSeeTableToString(forSeeTable, options) end -- As _forSee, but uses the frame. function p.forSee (frame, from, options) mArguments = require('Module:Arguments') return p._forSee(mArguments.getArgs(frame), from, options) end return p d0828422b1aa0d0d0092d699d059c9e882260398 828 130 985 984 2023-06-09T18:10:01Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Icon]] Scribunto text/plain -- This module implements [[Template:Icon]]. require("strict") local yesNo = require("Module:Yesno") local getArgs = require("Module:Arguments").getArgs local getPlain = nil local p = {} -- Determine whether we're being called from a sandbox local sandbox = mw.getCurrentFrame():getTitle():find('sandbox', 1, true) and '/sandbox' or '' -- Implements [[Template:Icon]] -- Returns the icon image corresponding to a string (like 'B') function p._main(args, data) local data_module = 'Module:Icon/data'..sandbox data = data or mw.loadData(data_module) local code = args.class or args[1] local iconData if code then code = code:match('^%s*(.-)%s*$'):lower() -- trim whitespace and put in lower case iconData = data[code] end if not iconData then iconData = data._DEFAULT end return string.format( '[[File:%s%s%s|%s|class=noviewer|alt=%s]]', iconData.image, iconData.tooltip and '|' .. iconData.tooltip or '', iconData.link == false and '|link=' or '', args.size or '16x16px', iconData.alt or '' ) end -- Implements [[Template:Icon link]], a superset of [[Template:Icon]] -- Returns an icon, plus a suitably formatted wikilink function p._link(args, data) args.size = args.size or args.iconsize local icon = p._main(args, data) -- If no link given in args[2], default back to [[Template:Icon]] if not args[2] then return icon end -- Strip wiki markup out of link getPlain = getPlain or require("Module:Text").Text().getPlain local link = getPlain(args[2]) local display = args[3] or args[2] -- italicize display string, if requested if yesNo(args.i) or yesNo(args.italic) or yesNo(args.italics) then display = '<i>'..display..'</i>' end -- if display is link, just use standard wlink if link == display then return icon..'&nbsp;[['..link..']]' end return icon..'&nbsp;[['..link..'|'..display..']]' end function p.main(frame) local args = getArgs(frame,{parentFirst=true}) return p._main(args) end function p.link(frame) local args = getArgs(frame,{parentFirst=true}) return p._link(args) end return p 7688d9a465bd7c4caa51f7e5c02676c162d583f5 828 131 987 986 2023-06-09T18:10:01Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Icon/data]] Scribunto text/plain -- This module stores icon data for [[Module:Icon]]. -------------------------------------------------------------------------------- -- Icon data -------------------------------------------------------------------------------- local data = { fa = { image = "Featured article star.svg", tooltip = "Featured article", link = true, }, far = { image = "Cscr-star piece.png", tooltip = "Featured article review", link = true, }, farc = { image = "Cscr-star piece.png", tooltip = "Featured article removal candidate", link = true, }, ffa = { aliases = {"dfa"}, image = "Featured article star - cross.svg", tooltip = "Former featured article", link = true, }, fac = { aliases = {"fan"}, image = "Cscr-candidate.svg", tooltip = "Featured article candidate", link = true, }, ffac = { aliases = {"nofa"}, image = "Featured article star - cross.svg", tooltip = "Failed featured article candidate", link = true, }, fl = { image = "Featured article star.svg", tooltip = "Featured list", link = true, }, flrc = { aliases = {"flr"}, image = "Cscr-star piece.png", tooltip = "Featured list removal candidate", link = true, }, ffl = { aliases = {"dfl"}, image = "Cscr-featured-strike.svg", tooltip = "Former featured list", link = true, }, flc = { aliases = {"fln"}, image = "Cscr-candidate.svg", tooltip = "Featured list candidate", link = true, }, fflc = { aliases = {"nofl"}, image = "Cscr-former.svg", tooltip = "Failed featured list candidate", link = true, }, a = { image = "Symbol a class.svg", tooltip = "A-Class article", link = true, }, dac = { aliases = {"daa"}, image = "Symbol unsupport A vote.svg", tooltip = "Demoted A-Class article", link = true, }, acc = { aliases = {"acn", "aac"}, image = "A candidate.svg", tooltip = "A-Class article candidate", link = true, }, noac = { aliases = {"faac"}, image = "Symbol unsupport A vote.svg", tooltip = "Failed A-Class article candidate", link = true, }, ga = { image = "Symbol support vote.svg", tooltip = "Good article", link = false, }, gar = { image = "GA Candidate Neutral vote(ChaosNil).svg", tooltip = "Good article reassessment", link = false, }, dga = { image = "Symbol unsupport vote.svg", tooltip = "Delisted good article", link = false, }, gan = { aliases = {"gac"}, image = "GA candidate.svg", tooltip = "Good article nominee", link = false, }, ga2 = { image = "Symbol neutral vote.svg", tooltip = "Good article, 2nd opinion", link = false, }, gah = { image = "Symbol wait.svg", tooltip = "Good article on hold", link = false, }, fgan = { aliases = {"noga", "gaf", "gf"}, image = "Symbol oppose vote.svg", tooltip = "Failed good article nominee", link = false, }, fp = { image = "Cscr-featured.svg", tooltip = "Featured picture", link = true, }, fpc = { aliases = {"fpn"}, image = "Cscr-candidate.svg", tooltip = "Featured picture candidate", link = true, }, ffp = { image = "Cscr-former.svg", tooltip = "Former featured picture", link = true, }, vp = { image = "ENWP VP Logo.svg", tooltip = "Valued picture", link = true, }, vpc = { image = "Valued pics 1.svg", tooltip = "Valued picture candidate", link = true, }, fs = { image = "Cscr-featured.svg", tooltip = "Featured sound", link = true, }, ffs = { image = "Cscr-former.svg", tooltip = "Former featured sound", link = true, }, fsc = { image = "Cscr-candidate.svg", tooltip = "Featured sound candidate", link = true, }, fpo = { image = "Linecons big-star.svg", tooltip = "Before the featured portal process ceased in 2017, this had been designated as a featured portal.", link = true, }, fpor = { image = "Cscr-star piece.png", tooltip = "Featured portal review", link = true, }, ffpo = { image = "Featured article star - cross.svg", tooltip = "Former featured portal", link = true, }, fpoc = { image = "Cscr-candidate.svg", tooltip = "Featured portal candidate", link = true, }, ft = { image = "Cscr-featuredtopic.svg", tooltip = "Featured topic", link = true, }, ftrc = { image = "Cscr-star piece.png", tooltip = "Featured topic removal candidate", link = true, }, fft = { aliases = {"dft"}, image = "DFT candidate_cluster.svg", tooltip = "Former featured topic", link = true, }, ftc = { aliases = {"ftn"}, image = "FT candidate cluster.svg", tooltip = "Featured topic candidate", link = false, }, gt = { image = "Support cluster.svg", tooltip = "Good topic", link = false, }, gtrc = { image = "Symbol unsupport vote.svg", tooltip = "Good topic removal candidate", link = false, }, gtc = { aliases = {"gtn"}, image = "GA candidate cluster.svg", tooltip = "Good topic candidate", link = false, }, bplus = { aliases = {"b+"}, image = "Symbol bplus class.svg", tooltip = "Bplus-Class article", link = true, }, b = { image = "Symbol b class.svg", tooltip = "B-Class article", link = true, }, br = { aliases = {"bcr"}, image = "Bclass-checklist.svg", tooltip = "B-Class review", link = true, }, c = { image = "Symbol c class.svg", tooltip = "C-Class article", link = true, }, start = { image = "Symbol start class.svg", tooltip = "Start-Class article", link = true, }, stub = { image = "Symbol stub class.svg", tooltip = "Stub-Class article", link = true, }, list = { aliases = {"comparison"}, image = "Symbol list class.svg", tooltip = "List-Class article", link = false, }, no = { image = "Crystal button cancel.svg", tooltip = "Unknown-Class article", link = true, }, book = { image = "Symbol book class2.svg", tooltip = "Wikipedia book", link = true, }, category = { aliases = {"cat", "categ"}, image = "Symbol category class.svg", tooltip = "Category", link = false, }, disambiguation = { aliases = {"dab", "disamb", "disambig"}, image = "Symbol dab class.svg", tooltip = "Disambiguation page", link = true, }, image = { aliases = {"file"}, image = "Symbol file class.svg", tooltip = "File", link = true, }, needed = { image = "Symbol needed class.svg", tooltip = "Needed article", link = false, }, outline = { image = "Global thinking.svg", tooltip = "Outline", link = false, }, portal = { image = "Symbol portal class.svg", tooltip = "Portal", link = true, }, project = { image = "Symbol project class.svg", tooltip = "Project page", link = false, }, redirect = { aliases = {"red", "redir"}, image = "Symbol redirect vote2.svg", tooltip = "Redirect", link = true, }, template = { aliases = {"temp", "templ"}, image = "Symbol template class.svg", tooltip = "Template", link = false, }, essay = { image = "Essay.svg", tooltip = "Essay", link = false, }, na = { image = "Symbol na class.svg", tooltip = "Non-article page", link = true, }, aa = { image = "Yes check.svg", tooltip = "Audited article of limited subject matter", link = false, }, da = { image = "Symbol oppose vote.svg", tooltip = "Demoted article", link = false, }, dyk = { image = "Symbol question.svg", tooltip = "Did You Know?", link = false, }, dyk2 = { image = "DYK questionmark icon.svg", tooltip = "Did You Know?", link = false, }, pr = { image = "Nuvola apps kedit.png", tooltip = "Peer review", link = true, }, ppr = { image = "Nuvola apps kedit.png", tooltip = "Portal peer review", link = true, }, q = { aliases = {"question"}, image = "Symbol question.svg", tooltip = "Question", link = false, }, cleanup = { image = "Edit-clear.svg", tooltip = "Cleanup work", link = false, }, qi = { image = "Quality images logo.svg", tooltip = "Quality image on Wikimedia Commons", link = false, }, vi = { image = "Valued image seal.svg", tooltip = "Valued image on Wikimedia Commons", link = false, }, tfa = { image = "Wikipedia-logo.svg", tooltip = "Today's Featured Article", link = true, }, tfl = { image = "Wikipedia-logo.svg", tooltip = "Today's Featured List", link = true, }, itn = { image = "Globe current.svg", tooltip = "In The News", link = true, }, otd = { image = "Nuvola apps date.svg", tooltip = "On This Day", link = true, }, wikiproject = { image = "People icon.svg", tooltip = "WikiProject", link = false, }, goce = { image = "Writing Magnifying.PNG", tooltip = "Guild of Copy Editors", link = true, }, wikipedia = { image = "Wikipedia-logo.svg", tooltip = "Wikipedia page", link = true, }, commons = { image = "Commons-logo.svg", tooltip = "Commons page", link = false, }, wikiquote = { image = "Wikiquote-logo.svg", tooltip = "Wikiquote page", link = false, }, wikiversity = { image = "Wikiversity logo 2017.svg", tooltip = "Wikiversity page", link = true, }, wikibooks = { image = "Wikibooks-logo.svg", tooltip = "Wikibooks page", link = true, }, wikisource = { image = "Wikisource-logo.svg", tooltip = "Wikisource page", link = true, }, wiktionary = { image = "Wiktionary-logo.svg", tooltip = "Wiktionary page", link = true, }, wikinews = { image = "Wikinews-logo.svg", tooltip = "Wikinews page", link = true, }, wikispecies = { image = "Wikispecies-logo.svg", tooltip = "Wikispecies page", link = true, }, wikidata = { image = "Wikidata-logo.svg", tooltip = "Wikidata page", link = false, }, wikivoyage = { image = "Wikivoyage-logo.svg", tooltip = "Wikivoyage page", link = true, }, mediawiki = { image = "MediaWiki-2020-icon.svg", tooltip = "MediaWiki", link = false, }, phabricator = { aliases = {"phab"}, image = "Favicon-Phabricator-WM.svg", tooltip = "Phabricator", link = false, }, wikitech = { image = "Wikitech-2021-blue-icon.svg", tooltip = "Wikitech", link = false, }, meta = { image = "Wikimedia Community Logo.svg", tooltip = "Meta-wiki page", link = false, }, four = { aliases = {"4a"}, image = "Four Award.svg", tooltip = "Four Award", link = false, }, million = { image = "Million award logo.svg", tooltip = "Million Award", link = true, }, module = { image = "Lua-logo-nolabel.svg", tooltip = "Module", link = false, }, vital = { image = "Círculos_Concéntricos.svg", tooltip = "Vital article", link = false, }, potd = { image = "Wikipedia-logo.svg", tooltip = "Picture of the Day", link = true, }, _DEFAULT = { image = "Symbol question.svg", link = false, } } -------------------------------------------------------------------------------- -- End icon data -------------------------------------------------------------------------------- -- Make aliases work the same as normal keys, and remove the "aliases" subtables. local ret= {} for code, iconData in pairs(data) do iconData.canonicalCode = code if iconData.aliases then for _, alias in ipairs(iconData.aliases) do ret[alias] = iconData end iconData.aliases = nil end ret[code] = iconData end return ret d8e668d4755103abdbc8325fa35964e99198c29d 828 132 989 988 2023-06-09T18:10:01Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Navbar]] Scribunto text/plain local p = {} local cfg = mw.loadData('Module:Navbar/configuration') local function get_title_arg(is_collapsible, template) local title_arg = 1 if is_collapsible then title_arg = 2 end if template then title_arg = 'template' end return title_arg end local function choose_links(template, args) -- The show table indicates the default displayed items. -- view, talk, edit, hist, move, watch -- TODO: Move to configuration. local show = {true, true, true, false, false, false} if template then show[2] = false show[3] = false local index = {t = 2, d = 2, e = 3, h = 4, m = 5, w = 6, talk = 2, edit = 3, hist = 4, move = 5, watch = 6} -- TODO: Consider removing TableTools dependency. for _, v in ipairs(require ('Module:TableTools').compressSparseArray(args)) do local num = index[v] if num then show[num] = true end end end local remove_edit_link = args.noedit if remove_edit_link then show[3] = false end return show end local function add_link(link_description, ul, is_mini, font_style) local l if link_description.url then l = {'[', '', ']'} else l = {'[[', '|', ']]'} end ul:tag('li') :addClass('nv-' .. link_description.full) :wikitext(l[1] .. link_description.link .. l[2]) :tag(is_mini and 'abbr' or 'span') :attr('title', link_description.html_title) :cssText(font_style) :wikitext(is_mini and link_description.mini or link_description.full) :done() :wikitext(l[3]) :done() end local function make_list(title_text, has_brackets, displayed_links, is_mini, font_style) local title = mw.title.new(mw.text.trim(title_text), cfg.title_namespace) if not title then error(cfg.invalid_title .. title_text) end local talkpage = title.talkPageTitle and title.talkPageTitle.fullText or '' -- TODO: Get link_descriptions and show into the configuration module. -- link_descriptions should be easier... local link_descriptions = { { ['mini'] = 'v', ['full'] = 'view', ['html_title'] = 'View this template', ['link'] = title.fullText, ['url'] = false }, { ['mini'] = 't', ['full'] = 'talk', ['html_title'] = 'Discuss this template', ['link'] = talkpage, ['url'] = false }, { ['mini'] = 'e', ['full'] = 'edit', ['html_title'] = 'Edit this template', ['link'] = title:fullUrl('action=edit'), ['url'] = true }, { ['mini'] = 'h', ['full'] = 'hist', ['html_title'] = 'History of this template', ['link'] = title:fullUrl('action=history'), ['url'] = true }, { ['mini'] = 'm', ['full'] = 'move', ['html_title'] = 'Move this template', ['link'] = mw.title.new('Special:Movepage'):fullUrl('target='..title.fullText), ['url'] = true }, { ['mini'] = 'w', ['full'] = 'watch', ['html_title'] = 'Watch this template', ['link'] = title:fullUrl('action=watch'), ['url'] = true } } local ul = mw.html.create('ul') if has_brackets then ul:addClass(cfg.classes.brackets) :cssText(font_style) end for i, _ in ipairs(displayed_links) do if displayed_links[i] then add_link(link_descriptions[i], ul, is_mini, font_style) end end return ul:done() end function p._navbar(args) -- TODO: We probably don't need both fontstyle and fontcolor... local font_style = args.fontstyle local font_color = args.fontcolor local is_collapsible = args.collapsible local is_mini = args.mini local is_plain = args.plain local collapsible_class = nil if is_collapsible then collapsible_class = cfg.classes.collapsible if not is_plain then is_mini = 1 end if font_color then font_style = (font_style or '') .. '; color: ' .. font_color .. ';' end end local navbar_style = args.style local div = mw.html.create():tag('div') div :addClass(cfg.classes.navbar) :addClass(cfg.classes.plainlinks) :addClass(cfg.classes.horizontal_list) :addClass(collapsible_class) -- we made the determination earlier :cssText(navbar_style) if is_mini then div:addClass(cfg.classes.mini) end local box_text = (args.text or cfg.box_text) .. ' ' -- the concatenated space guarantees the box text is separated if not (is_mini or is_plain) then div :tag('span') :addClass(cfg.classes.box_text) :cssText(font_style) :wikitext(box_text) end local template = args.template local displayed_links = choose_links(template, args) local has_brackets = args.brackets local title_arg = get_title_arg(is_collapsible, template) local title_text = args[title_arg] or (':' .. mw.getCurrentFrame():getParent():getTitle()) local list = make_list(title_text, has_brackets, displayed_links, is_mini, font_style) div:node(list) if is_collapsible then local title_text_class if is_mini then title_text_class = cfg.classes.collapsible_title_mini else title_text_class = cfg.classes.collapsible_title_full end div:done() :tag('div') :addClass(title_text_class) :cssText(font_style) :wikitext(args[1]) end local frame = mw.getCurrentFrame() -- hlist -> navbar is best-effort to preserve old Common.css ordering. return frame:extensionTag{ name = 'templatestyles', args = { src = cfg.hlist_templatestyles } } .. frame:extensionTag{ name = 'templatestyles', args = { src = cfg.templatestyles } } .. tostring(div:done()) end function p.navbar(frame) return p._navbar(require('Module:Arguments').getArgs(frame)) end return p 79f907e59eaa8bbf8dd50bb751933ebeaaa7eb17 828 133 991 990 2023-06-09T18:10:02Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Navbar/configuration]] Scribunto text/plain return { ['templatestyles'] = 'Module:Navbar/styles.css', ['hlist_templatestyles'] = 'Hlist/styles.css', ['box_text'] = 'This box: ', -- default text box when not plain or mini ['title_namespace'] = 'Template', -- namespace to default to for title ['invalid_title'] = 'Invalid title ', ['classes'] = { -- set a line to nil if you don't want it ['navbar'] = 'navbar', ['plainlinks'] = 'plainlinks', -- plainlinks ['horizontal_list'] = 'hlist', -- horizontal list class ['mini'] = 'navbar-mini', -- class indicating small links in the navbar ['this_box'] = 'navbar-boxtext', ['brackets'] = 'navbar-brackets', -- 'collapsible' is the key for a class to indicate the navbar is -- setting up the collapsible element in addition to the normal -- navbar. ['collapsible'] = 'navbar-collapse', ['collapsible_title_mini'] = 'navbar-ct-mini', ['collapsible_title_full'] = 'navbar-ct-full' } } b007c336b17ec4bcd4d5a9dca9f8cba301662b55 828 134 993 992 2023-06-09T18:10:02Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Navbar/styles.css]] text text/plain /* {{pp|small=yes}} */ .navbar { display: inline; font-size: 88%; font-weight: normal; } .navbar-collapse { float: left; text-align: left; } .navbar-boxtext { word-spacing: 0; } .navbar ul { display: inline-block; white-space: nowrap; line-height: inherit; } .navbar-brackets::before { margin-right: -0.125em; content: '[ '; } .navbar-brackets::after { margin-left: -0.125em; content: ' ]'; } .navbar li { word-spacing: -0.125em; } .navbar a > span, .navbar a > abbr { text-decoration: inherit; } .navbar-mini abbr { font-variant: small-caps; border-bottom: none; text-decoration: none; cursor: inherit; } .navbar-ct-full { font-size: 114%; margin: 0 7em; } .navbar-ct-mini { font-size: 114%; margin: 0 4em; } 9d4056f949b4f0b159e3d40dfb1a5f01e72f9571 828 135 995 994 2023-06-09T18:10:03Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Navbox]] Scribunto text/plain require('strict') local p = {} local navbar = require('Module:Navbar')._navbar local cfg = mw.loadData('Module:Navbox/configuration') local getArgs -- lazily initialized local args local format = string.format local function striped(wikitext, border) -- Return wikitext with markers replaced for odd/even striping. -- Child (subgroup) navboxes are flagged with a category that is removed -- by parent navboxes. The result is that the category shows all pages -- where a child navbox is not contained in a parent navbox. local orphanCat = cfg.category.orphan if border == cfg.keyword.border_subgroup and args[cfg.arg.orphan] ~= cfg.keyword.orphan_yes then -- No change; striping occurs in outermost navbox. return wikitext .. orphanCat end local first, second = cfg.class.navbox_odd_part, cfg.class.navbox_even_part if args[cfg.arg.evenodd] then if args[cfg.arg.evenodd] == cfg.keyword.evenodd_swap then first, second = second, first else first = args[cfg.arg.evenodd] second = first end end local changer if first == second then changer = first else local index = 0 changer = function (code) if code == '0' then -- Current occurrence is for a group before a nested table. -- Set it to first as a valid although pointless class. -- The next occurrence will be the first row after a title -- in a subgroup and will also be first. index = 0 return first end index = index + 1 return index % 2 == 1 and first or second end end local regex = orphanCat:gsub('([%[%]])', '%%%1') return (wikitext:gsub(regex, ''):gsub(cfg.marker.regex, changer)) -- () omits gsub count end local function processItem(item, nowrapitems) if item:sub(1, 2) == '{|' then -- Applying nowrap to lines in a table does not make sense. -- Add newlines to compensate for trim of x in |parm=x in a template. return '\n' .. item ..'\n' end if nowrapitems == cfg.keyword.nowrapitems_yes then local lines = {} for line in (item .. '\n'):gmatch('([^\n]*)\n') do local prefix, content = line:match('^([*:;#]+)%s*(.*)') if prefix and not content:match(cfg.pattern.nowrap) then line = format(cfg.nowrap_item, prefix, content) end table.insert(lines, line) end item = table.concat(lines, '\n') end if item:match('^[*:;#]') then return '\n' .. item ..'\n' end return item end local function has_navbar() return args[cfg.arg.navbar] ~= cfg.keyword.navbar_off and args[cfg.arg.navbar] ~= cfg.keyword.navbar_plain and ( args[cfg.arg.name] or mw.getCurrentFrame():getParent():getTitle():gsub(cfg.pattern.sandbox, '') ~= cfg.pattern.navbox ) end local function renderNavBar(titleCell) if has_navbar() then titleCell:wikitext(navbar{ [cfg.navbar.name] = args[cfg.arg.name], [cfg.navbar.mini] = 1, [cfg.navbar.fontstyle] = (args[cfg.arg.basestyle] or '') .. ';' .. (args[cfg.arg.titlestyle] or '') .. ';background:none transparent;border:none;box-shadow:none;padding:0;' }) end end local function renderTitleRow(tbl) if not args[cfg.arg.title] then return end local titleRow = tbl:tag('tr') local titleCell = titleRow:tag('th'):attr('scope', 'col') local titleColspan = 2 if args[cfg.arg.imageleft] then titleColspan = titleColspan + 1 end if args[cfg.arg.image] then titleColspan = titleColspan + 1 end titleCell :cssText(args[cfg.arg.basestyle]) :cssText(args[cfg.arg.titlestyle]) :addClass(cfg.class.navbox_title) :attr('colspan', titleColspan) renderNavBar(titleCell) titleCell :tag('div') -- id for aria-labelledby attribute :attr('id', mw.uri.anchorEncode(args[cfg.arg.title])) :addClass(args[cfg.arg.titleclass]) :css('font-size', '114%') :css('margin', '0 4em') :wikitext(processItem(args[cfg.arg.title])) end local function getAboveBelowColspan() local ret = 2 if args[cfg.arg.imageleft] then ret = ret + 1 end if args[cfg.arg.image] then ret = ret + 1 end return ret end local function renderAboveRow(tbl) if not args[cfg.arg.above] then return end tbl:tag('tr') :tag('td') :addClass(cfg.class.navbox_abovebelow) :addClass(args[cfg.arg.aboveclass]) :cssText(args[cfg.arg.basestyle]) :cssText(args[cfg.arg.abovestyle]) :attr('colspan', getAboveBelowColspan()) :tag('div') -- id for aria-labelledby attribute, if no title :attr('id', (not args[cfg.arg.title]) and mw.uri.anchorEncode(args[cfg.arg.above]) or nil) :wikitext(processItem(args[cfg.arg.above], args[cfg.arg.nowrapitems])) end local function renderBelowRow(tbl) if not args[cfg.arg.below] then return end tbl:tag('tr') :tag('td') :addClass(cfg.class.navbox_abovebelow) :addClass(args[cfg.arg.belowclass]) :cssText(args[cfg.arg.basestyle]) :cssText(args[cfg.arg.belowstyle]) :attr('colspan', getAboveBelowColspan()) :tag('div') :wikitext(processItem(args[cfg.arg.below], args[cfg.arg.nowrapitems])) end local function renderListRow(tbl, index, listnum, listnums_size) local row = tbl:tag('tr') if index == 1 and args[cfg.arg.imageleft] then row :tag('td') :addClass(cfg.class.noviewer) :addClass(cfg.class.navbox_image) :addClass(args[cfg.arg.imageclass]) :css('width', '1px') -- Minimize width :css('padding', '0 2px 0 0') :cssText(args[cfg.arg.imageleftstyle]) :attr('rowspan', listnums_size) :tag('div') :wikitext(processItem(args[cfg.arg.imageleft])) end local group_and_num = format(cfg.arg.group_and_num, listnum) local groupstyle_and_num = format(cfg.arg.groupstyle_and_num, listnum) if args[group_and_num] then local groupCell = row:tag('th') -- id for aria-labelledby attribute, if lone group with no title or above if listnum == 1 and not (args[cfg.arg.title] or args[cfg.arg.above] or args[cfg.arg.group2]) then groupCell :attr('id', mw.uri.anchorEncode(args[cfg.arg.group1])) end groupCell :attr('scope', 'row') :addClass(cfg.class.navbox_group) :addClass(args[cfg.arg.groupclass]) :cssText(args[cfg.arg.basestyle]) -- If groupwidth not specified, minimize width :css('width', args[cfg.arg.groupwidth] or '1%') groupCell :cssText(args[cfg.arg.groupstyle]) :cssText(args[groupstyle_and_num]) :wikitext(args[group_and_num]) end local listCell = row:tag('td') if args[group_and_num] then listCell :addClass(cfg.class.navbox_list_with_group) else listCell:attr('colspan', 2) end if not args[cfg.arg.groupwidth] then listCell:css('width', '100%') end local rowstyle -- usually nil so cssText(rowstyle) usually adds nothing if index % 2 == 1 then rowstyle = args[cfg.arg.oddstyle] else rowstyle = args[cfg.arg.evenstyle] end local list_and_num = format(cfg.arg.list_and_num, listnum) local listText = args[list_and_num] local oddEven = cfg.marker.oddeven if listText:sub(1, 12) == '</div><table' then -- Assume list text is for a subgroup navbox so no automatic striping for this row. oddEven = listText:find(cfg.pattern.navbox_title) and cfg.marker.restart or cfg.class.navbox_odd_part end local liststyle_and_num = format(cfg.arg.liststyle_and_num, listnum) local listclass_and_num = format(cfg.arg.listclass_and_num, listnum) listCell :css('padding', '0') :cssText(args[cfg.arg.liststyle]) :cssText(rowstyle) :cssText(args[liststyle_and_num]) :addClass(cfg.class.navbox_list) :addClass(cfg.class.navbox_part .. oddEven) :addClass(args[cfg.arg.listclass]) :addClass(args[listclass_and_num]) :tag('div') :css('padding', (index == 1 and args[cfg.arg.list1padding]) or args[cfg.arg.listpadding] or '0 0.25em' ) :wikitext(processItem(listText, args[cfg.arg.nowrapitems])) if index == 1 and args[cfg.arg.image] then row :tag('td') :addClass(cfg.class.noviewer) :addClass(cfg.class.navbox_image) :addClass(args[cfg.arg.imageclass]) :css('width', '1px') -- Minimize width :css('padding', '0 0 0 2px') :cssText(args[cfg.arg.imagestyle]) :attr('rowspan', listnums_size) :tag('div') :wikitext(processItem(args[cfg.arg.image])) end end local function has_list_class(htmlclass) local patterns = { '^' .. htmlclass .. '$', '%s' .. htmlclass .. '$', '^' .. htmlclass .. '%s', '%s' .. htmlclass .. '%s' } for arg, _ in pairs(args) do if type(arg) == 'string' and mw.ustring.find(arg, cfg.pattern.class) then for _, pattern in ipairs(patterns) do if mw.ustring.find(args[arg] or '', pattern) then return true end end end end return false end -- there are a lot of list classes in the wild, so we add their TemplateStyles local function add_list_styles() local frame = mw.getCurrentFrame() local function add_list_templatestyles(htmlclass, templatestyles) if has_list_class(htmlclass) then return frame:extensionTag{ name = 'templatestyles', args = { src = templatestyles } } else return '' end end local hlist_styles = add_list_templatestyles('hlist', cfg.hlist_templatestyles) local plainlist_styles = add_list_templatestyles('plainlist', cfg.plainlist_templatestyles) -- a second workaround for [[phab:T303378]] -- when that issue is fixed, we can actually use has_navbar not to emit the -- tag here if we want if has_navbar() and hlist_styles == '' then hlist_styles = frame:extensionTag{ name = 'templatestyles', args = { src = cfg.hlist_templatestyles } } end -- hlist -> plainlist is best-effort to preserve old Common.css ordering. -- this ordering is not a guarantee because most navboxes will emit only -- one of these classes [hlist_note] return hlist_styles .. plainlist_styles end local function needsHorizontalLists(border) if border == cfg.keyword.border_subgroup or args[cfg.arg.tracking] == cfg.keyword.tracking_no then return false end return not has_list_class(cfg.pattern.hlist) and not has_list_class(cfg.pattern.plainlist) end local function hasBackgroundColors() for _, key in ipairs({cfg.arg.titlestyle, cfg.arg.groupstyle, cfg.arg.basestyle, cfg.arg.abovestyle, cfg.arg.belowstyle}) do if tostring(args[key]):find('background', 1, true) then return true end end return false end local function hasBorders() for _, key in ipairs({cfg.arg.groupstyle, cfg.arg.basestyle, cfg.arg.abovestyle, cfg.arg.belowstyle}) do if tostring(args[key]):find('border', 1, true) then return true end end return false end local function isIllegible() local styleratio = require('Module:Color contrast')._styleratio for key, style in pairs(args) do if tostring(key):match(cfg.pattern.style) then if styleratio{mw.text.unstripNoWiki(style)} < 4.5 then return true end end end return false end local function getTrackingCategories(border) local cats = {} if needsHorizontalLists(border) then table.insert(cats, cfg.category.horizontal_lists) end if hasBackgroundColors() then table.insert(cats, cfg.category.background_colors) end if isIllegible() then table.insert(cats, cfg.category.illegible) end if hasBorders() then table.insert(cats, cfg.category.borders) end return cats end local function renderTrackingCategories(builder, border) local title = mw.title.getCurrentTitle() if title.namespace ~= 10 then return end -- not in template space local subpage = title.subpageText if subpage == cfg.keyword.subpage_doc or subpage == cfg.keyword.subpage_sandbox or subpage == cfg.keyword.subpage_testcases then return end for _, cat in ipairs(getTrackingCategories(border)) do builder:wikitext('[[Category:' .. cat .. ']]') end end local function renderMainTable(border, listnums) local tbl = mw.html.create('table') :addClass(cfg.class.nowraplinks) :addClass(args[cfg.arg.bodyclass]) local state = args[cfg.arg.state] if args[cfg.arg.title] and state ~= cfg.keyword.state_plain and state ~= cfg.keyword.state_off then if state == cfg.keyword.state_collapsed then state = cfg.class.collapsed end tbl :addClass(cfg.class.collapsible) :addClass(state or cfg.class.autocollapse) end tbl:css('border-spacing', 0) if border == cfg.keyword.border_subgroup or border == cfg.keyword.border_none then tbl :addClass(cfg.class.navbox_subgroup) :cssText(args[cfg.arg.bodystyle]) :cssText(args[cfg.arg.style]) else -- regular navbox - bodystyle and style will be applied to the wrapper table tbl :addClass(cfg.class.navbox_inner) :css('background', 'transparent') :css('color', 'inherit') end tbl:cssText(args[cfg.arg.innerstyle]) renderTitleRow(tbl) renderAboveRow(tbl) local listnums_size = #listnums for i, listnum in ipairs(listnums) do renderListRow(tbl, i, listnum, listnums_size) end renderBelowRow(tbl) return tbl end local function add_navbox_styles(hiding_templatestyles) local frame = mw.getCurrentFrame() -- This is a lambda so that it doesn't need the frame as a parameter local function add_user_styles(templatestyles) if templatestyles and templatestyles ~= '' then return frame:extensionTag{ name = 'templatestyles', args = { src = templatestyles } } end return '' end -- get templatestyles. load base from config so that Lua only needs to do -- the work once of parser tag expansion local base_templatestyles = cfg.templatestyles local templatestyles = add_user_styles(args[cfg.arg.templatestyles]) local child_templatestyles = add_user_styles(args[cfg.arg.child_templatestyles]) -- The 'navbox-styles' div exists to wrap the styles to work around T200206 -- more elegantly. Instead of combinatorial rules, this ends up being linear -- number of CSS rules. return mw.html.create('div') :addClass(cfg.class.navbox_styles) :wikitext( add_list_styles() .. -- see [hlist_note] applied to 'before base_templatestyles' base_templatestyles .. templatestyles .. child_templatestyles .. table.concat(hiding_templatestyles) ) :done() end -- work around [[phab:T303378]] -- for each arg: find all the templatestyles strip markers, insert them into a -- table. then remove all templatestyles markers from the arg local function move_hiding_templatestyles(args) local gfind = string.gfind local gsub = string.gsub local templatestyles_markers = {} local strip_marker_pattern = '(\127[^\127]*UNIQ%-%-templatestyles%-%x+%-QINU[^\127]*\127)' for k, arg in pairs(args) do for marker in gfind(arg, strip_marker_pattern) do table.insert(templatestyles_markers, marker) end args[k] = gsub(arg, strip_marker_pattern, '') end return templatestyles_markers end function p._navbox(navboxArgs) args = navboxArgs local hiding_templatestyles = move_hiding_templatestyles(args) local listnums = {} for k, _ in pairs(args) do if type(k) == 'string' then local listnum = k:match(cfg.pattern.listnum) if listnum then table.insert(listnums, tonumber(listnum)) end end end table.sort(listnums) local border = mw.text.trim(args[cfg.arg.border] or args[1] or '') if border == cfg.keyword.border_child then border = cfg.keyword.border_subgroup end -- render the main body of the navbox local tbl = renderMainTable(border, listnums) local res = mw.html.create() -- render the appropriate wrapper for the navbox, based on the border param if border == cfg.keyword.border_none then res:node(add_navbox_styles(hiding_templatestyles)) local nav = res:tag('div') :attr('role', 'navigation') :node(tbl) -- aria-labelledby title, otherwise above, otherwise lone group if args[cfg.arg.title] or args[cfg.arg.above] or (args[cfg.arg.group1] and not args[cfg.arg.group2]) then nav:attr( 'aria-labelledby', mw.uri.anchorEncode( args[cfg.arg.title] or args[cfg.arg.above] or args[cfg.arg.group1] ) ) else nav:attr('aria-label', cfg.aria_label) end elseif border == cfg.keyword.border_subgroup then -- We assume that this navbox is being rendered in a list cell of a -- parent navbox, and is therefore inside a div with padding:0em 0.25em. -- We start with a </div> to avoid the padding being applied, and at the -- end add a <div> to balance out the parent's </div> res :wikitext('</div>') :node(tbl) :wikitext('<div>') else res:node(add_navbox_styles(hiding_templatestyles)) local nav = res:tag('div') :attr('role', 'navigation') :addClass(cfg.class.navbox) :addClass(args[cfg.arg.navboxclass]) :cssText(args[cfg.arg.bodystyle]) :cssText(args[cfg.arg.style]) :css('padding', '3px') :node(tbl) -- aria-labelledby title, otherwise above, otherwise lone group if args[cfg.arg.title] or args[cfg.arg.above] or (args[cfg.arg.group1] and not args[cfg.arg.group2]) then nav:attr( 'aria-labelledby', mw.uri.anchorEncode(args[cfg.arg.title] or args[cfg.arg.above] or args[cfg.arg.group1]) ) else nav:attr('aria-label', cfg.aria_label) end end if (args[cfg.arg.nocat] or cfg.keyword.nocat_false):lower() == cfg.keyword.nocat_false then renderTrackingCategories(res, border) end return striped(tostring(res), border) end function p.navbox(frame) if not getArgs then getArgs = require('Module:Arguments').getArgs end args = getArgs(frame, {wrappers = {cfg.pattern.navbox}}) -- Read the arguments in the order they'll be output in, to make references -- number in the right order. local _ _ = args[cfg.arg.title] _ = args[cfg.arg.above] -- Limit this to 20 as covering 'most' cases (that's a SWAG) and because -- iterator approach won't work here for i = 1, 20 do _ = args[format(cfg.arg.group_and_num, i)] _ = args[format(cfg.arg.list_and_num, i)] end _ = args[cfg.arg.below] return p._navbox(args) end return p 05be9a97c035ab3f0fac69423779e261949d473c 828 136 997 996 2023-06-09T18:10:03Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Navbox/configuration]] Scribunto text/plain return { aria_label = 'Navbox', nowrap_item = '%s<span class="nowrap">%s</span>', templatestyles = mw.getCurrentFrame():extensionTag{ name = 'templatestyles', args = { src = 'Module:Navbox/styles.css' } }, hlist_templatestyles = 'Hlist/styles.css', plainlist_templatestyles = 'Plainlist/styles.css', -- do not localize marker table marker = { oddeven = '\127_ODDEVEN_\127', restart = '\127_ODDEVEN0_\127', regex = '\127_ODDEVEN(%d?)_\127' }, category = { orphan = '[[Category:Navbox orphans]]', horizontal_lists = 'Navigational boxes without horizontal lists', background_colors = 'Navboxes using background colours', illegible = 'Potentially illegible navboxes', borders = 'Navboxes using borders', }, keyword = { border_subgroup = 'subgroup', border_child = 'child', border_none = 'none', evenodd_swap = 'swap', navbar_off = 'off', navbar_plain = 'plain', nocat_false = 'false', nowrapitems_yes = 'yes', orphan_yes = 'yes', state_collapsed = 'collapsed', state_off = 'off', state_plain = 'plain', subpage_doc = 'doc', subpage_sandbox = 'sandbox', subpage_testcases = 'testcases', tracking_no = 'no' }, class = { autocollapse = 'autocollapse', collapsible = 'mw-collapsible', collapsed = 'mw-collapsed', -- Warning navbox = 'navbox', -- WMF currently hides 'navbox' from mobile, -- so you probably shouldn't change the navbox class. navbox_abovebelow = 'navbox-abovebelow', navbox_group = 'navbox-group', navbox_image = 'navbox-image', navbox_inner = 'navbox-inner', navbox_list = 'navbox-list', navbox_list_with_group = 'navbox-list-with-group', navbox_part = 'navbox-', -- do not l10n navbox_styles = 'navbox-styles', navbox_subgroup = 'navbox-subgroup', navbox_title = 'navbox-title', -- l10n only if you change pattern.navbox_title below navbox_odd_part = 'odd', -- do not l10n navbox_even_part = 'even', -- do not l10n nomobile = 'nomobile', nowraplinks = 'nowraplinks', noviewer = 'noviewer' -- used to remove images from MediaViewer }, pattern = { listnum = '^list(%d+)$', class = 'class', sandbox = '/sandbox$', navbox = 'Template:Navbox', nowrap = '^<span class="nowrap">', style = 'style$', navbox_title = '<th[^>]*"navbox%-title"', hlist = 'hlist', plainlist = 'plainlist', }, arg = { above = 'above', aboveclass = 'aboveclass', abovestyle = 'abovestyle', basestyle = 'basestyle', bodyclass = 'bodyclass', bodystyle = 'bodystyle', border = 'border', below = 'below', belowclass = 'belowclass', belowstyle = 'belowstyle', evenodd = 'evenodd', evenstyle = 'evenstyle', group1 = 'group1', group2 = 'group2', group_and_num = 'group%d', groupstyle_and_num = 'group%dstyle', groupclass = 'groupclass', groupstyle = 'groupstyle', groupwidth = 'groupwidth', innerstyle = 'innerstyle', image = 'image', imageclass = 'imageclass', imageleft = 'imageleft', imageleftstyle = 'imageleftstyle', imagesetyle = 'imagestyle', list_and_num = 'list%d', listclass_and_num = 'list%dclass', liststyle_and_num = 'list%dstyle', list1padding = 'list1padding', listclass = 'listclass', listpadding = 'listpadding', liststyle = 'liststyle', name = 'name', navbar = 'navbar', navboxclass = 'navboxclass', nocat = 'nocat', nowrapitems = 'nowrapitems', oddstyle = 'oddstyle', orphan = 'orphan', state = 'state', style = 'style', templatestyles = 'templatestyles', child_templatestyles = 'child templatestyles', title = 'title', titleclass = 'titleclass', titlestyle = 'titlestyle', tracking = 'tracking' }, -- names of navbar arguments navbar = { name = 1, fontstyle = 'fontstyle', mini = 'mini' } } 4148736fd32a93636c0413e73ed38afaef065ec9 828 137 999 998 2023-06-09T18:10:04Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Navbox/styles.css]] text text/plain /* {{pp|small=y}} */ .navbox { box-sizing: border-box; border: 1px solid #a2a9b1; width: 100%; clear: both; font-size: 88%; text-align: center; padding: 1px; margin: 1em auto 0; /* Prevent preceding content from clinging to navboxes */ } .navbox .navbox { margin-top: 0; /* No top margin for nested navboxes */ } .navbox + .navbox, /* TODO: remove first line after transclusions have updated */ .navbox + .navbox-styles + .navbox { margin-top: -1px; /* Single pixel border between adjacent navboxes */ } .navbox-inner, .navbox-subgroup { width: 100%; } .navbox-group, .navbox-title, .navbox-abovebelow { padding: 0.25em 1em; line-height: 1.5em; text-align: center; } .navbox-group { white-space: nowrap; /* @noflip */ text-align: right; } .navbox, .navbox-subgroup { background-color: #fdfdfd; } .navbox-list { line-height: 1.5em; border-color: #fdfdfd; /* Must match background color */ } .navbox-list-with-group { text-align: left; border-left-width: 2px; border-left-style: solid; } /* cell spacing for navbox cells */ /* Borders above 2nd, 3rd, etc. rows */ /* TODO: figure out how to replace tr as structure; * with div structure it should be just a matter of first-child */ tr + tr > .navbox-abovebelow, tr + tr > .navbox-group, tr + tr > .navbox-image, tr + tr > .navbox-list { border-top: 2px solid #fdfdfd; /* Must match background color */ } .navbox-title { background-color: #ccf; /* Level 1 color */ } .navbox-abovebelow, .navbox-group, .navbox-subgroup .navbox-title { background-color: #ddf; /* Level 2 color */ } .navbox-subgroup .navbox-group, .navbox-subgroup .navbox-abovebelow { background-color: #e6e6ff; /* Level 3 color */ } .navbox-even { background-color: #f7f7f7; } .navbox-odd { background-color: transparent; } /* TODO: figure out how to remove reliance on td as structure */ .navbox .hlist td dl, .navbox .hlist td ol, .navbox .hlist td ul, .navbox td.hlist dl, .navbox td.hlist ol, .navbox td.hlist ul { padding: 0.125em 0; } .navbox .navbar { display: block; font-size: 100%; } .navbox-title .navbar { /* @noflip */ float: left; /* @noflip */ text-align: left; /* @noflip */ margin-right: 0.5em; } e80b0d7a5770e6e105dab832deb6c37a5245ebc6 828 138 1001 1000 2023-06-09T18:10:04Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Protection_banner]] Scribunto text/plain -- This module implements {{pp-meta}} and its daughter templates such as -- {{pp-dispute}}, {{pp-vandalism}} and {{pp-sock}}. -- Initialise necessary modules. require('strict') local makeFileLink = require('Module:File link')._main local effectiveProtectionLevel = require('Module:Effective protection level')._main local effectiveProtectionExpiry = require('Module:Effective protection expiry')._main local yesno = require('Module:Yesno') -- Lazily initialise modules and objects we don't always need. local getArgs, makeMessageBox, lang -- Set constants. local CONFIG_MODULE = 'Module:Protection banner/config' -------------------------------------------------------------------------------- -- Helper functions -------------------------------------------------------------------------------- local function makeCategoryLink(cat, sort) if cat then return string.format( '[[%s:%s|%s]]', mw.site.namespaces[14].name, cat, sort ) end end -- Validation function for the expiry and the protection date local function validateDate(dateString, dateType) if not lang then lang = mw.language.getContentLanguage() end local success, result = pcall(lang.formatDate, lang, 'U', dateString) if success then result = tonumber(result) if result then return result end end error(string.format( 'invalid %s: %s', dateType, tostring(dateString) ), 4) end local function makeFullUrl(page, query, display) return string.format( '[%s %s]', tostring(mw.uri.fullUrl(page, query)), display ) end -- Given a directed graph formatted as node -> table of direct successors, -- get a table of all nodes reachable from a given node (though always -- including the given node). local function getReachableNodes(graph, start) local toWalk, retval = {[start] = true}, {} while true do -- Can't use pairs() since we're adding and removing things as we're iterating local k = next(toWalk) -- This always gets the "first" key if k == nil then return retval end toWalk[k] = nil retval[k] = true for _,v in ipairs(graph[k]) do if not retval[v] then toWalk[v] = true end end end end -------------------------------------------------------------------------------- -- Protection class -------------------------------------------------------------------------------- local Protection = {} Protection.__index = Protection Protection.supportedActions = { edit = true, move = true, autoreview = true, upload = true } Protection.bannerConfigFields = { 'text', 'explanation', 'tooltip', 'alt', 'link', 'image' } function Protection.new(args, cfg, title) local obj = {} obj._cfg = cfg obj.title = title or mw.title.getCurrentTitle() -- Set action if not args.action then obj.action = 'edit' elseif Protection.supportedActions[args.action] then obj.action = args.action else error(string.format( 'invalid action: %s', tostring(args.action) ), 3) end -- Set level obj.level = args.demolevel or effectiveProtectionLevel(obj.action, obj.title) if not obj.level or (obj.action == 'move' and obj.level == 'autoconfirmed') then -- Users need to be autoconfirmed to move pages anyway, so treat -- semi-move-protected pages as unprotected. obj.level = '*' end -- Set expiry local effectiveExpiry = effectiveProtectionExpiry(obj.action, obj.title) if effectiveExpiry == 'infinity' then obj.expiry = 'indef' elseif effectiveExpiry ~= 'unknown' then obj.expiry = validateDate(effectiveExpiry, 'expiry date') end -- Set reason if args[1] then obj.reason = mw.ustring.lower(args[1]) if obj.reason:find('|') then error('reasons cannot contain the pipe character ("|")', 3) end end -- Set protection date if args.date then obj.protectionDate = validateDate(args.date, 'protection date') end -- Set banner config do obj.bannerConfig = {} local configTables = {} if cfg.banners[obj.action] then configTables[#configTables + 1] = cfg.banners[obj.action][obj.reason] end if cfg.defaultBanners[obj.action] then configTables[#configTables + 1] = cfg.defaultBanners[obj.action][obj.level] configTables[#configTables + 1] = cfg.defaultBanners[obj.action].default end configTables[#configTables + 1] = cfg.masterBanner for i, field in ipairs(Protection.bannerConfigFields) do for j, t in ipairs(configTables) do if t[field] then obj.bannerConfig[field] = t[field] break end end end end return setmetatable(obj, Protection) end function Protection:isUserScript() -- Whether the page is a user JavaScript or CSS page. local title = self.title return title.namespace == 2 and ( title.contentModel == 'javascript' or title.contentModel == 'css' ) end function Protection:isProtected() return self.level ~= '*' end function Protection:shouldShowLock() -- Whether we should output a banner/padlock return self:isProtected() and not self:isUserScript() end -- Whether this page needs a protection category. Protection.shouldHaveProtectionCategory = Protection.shouldShowLock function Protection:isTemporary() return type(self.expiry) == 'number' end function Protection:makeProtectionCategory() if not self:shouldHaveProtectionCategory() then return '' end local cfg = self._cfg local title = self.title -- Get the expiry key fragment. local expiryFragment if self.expiry == 'indef' then expiryFragment = self.expiry elseif type(self.expiry) == 'number' then expiryFragment = 'temp' end -- Get the namespace key fragment. local namespaceFragment = cfg.categoryNamespaceKeys[title.namespace] if not namespaceFragment and title.namespace % 2 == 1 then namespaceFragment = 'talk' end -- Define the order that key fragments are tested in. This is done with an -- array of tables containing the value to be tested, along with its -- position in the cfg.protectionCategories table. local order = { {val = expiryFragment, keypos = 1}, {val = namespaceFragment, keypos = 2}, {val = self.reason, keypos = 3}, {val = self.level, keypos = 4}, {val = self.action, keypos = 5} } --[[ -- The old protection templates used an ad-hoc protection category system, -- with some templates prioritising namespaces in their categories, and -- others prioritising the protection reason. To emulate this in this module -- we use the config table cfg.reasonsWithNamespacePriority to set the -- reasons for which namespaces have priority over protection reason. -- If we are dealing with one of those reasons, move the namespace table to -- the end of the order table, i.e. give it highest priority. If not, the -- reason should have highest priority, so move that to the end of the table -- instead. --]] table.insert(order, table.remove(order, self.reason and cfg.reasonsWithNamespacePriority[self.reason] and 2 or 3)) --[[ -- Define the attempt order. Inactive subtables (subtables with nil "value" -- fields) are moved to the end, where they will later be given the key -- "all". This is to cut down on the number of table lookups in -- cfg.protectionCategories, which grows exponentially with the number of -- non-nil keys. We keep track of the number of active subtables with the -- noActive parameter. --]] local noActive, attemptOrder do local active, inactive = {}, {} for i, t in ipairs(order) do if t.val then active[#active + 1] = t else inactive[#inactive + 1] = t end end noActive = #active attemptOrder = active for i, t in ipairs(inactive) do attemptOrder[#attemptOrder + 1] = t end end --[[ -- Check increasingly generic key combinations until we find a match. If a -- specific category exists for the combination of key fragments we are -- given, that match will be found first. If not, we keep trying different -- key fragment combinations until we match using the key -- "all-all-all-all-all". -- -- To generate the keys, we index the key subtables using a binary matrix -- with indexes i and j. j is only calculated up to the number of active -- subtables. For example, if there were three active subtables, the matrix -- would look like this, with 0 corresponding to the key fragment "all", and -- 1 corresponding to other key fragments. -- -- j 1 2 3 -- i -- 1 1 1 1 -- 2 0 1 1 -- 3 1 0 1 -- 4 0 0 1 -- 5 1 1 0 -- 6 0 1 0 -- 7 1 0 0 -- 8 0 0 0 -- -- Values of j higher than the number of active subtables are set -- to the string "all". -- -- A key for cfg.protectionCategories is constructed for each value of i. -- The position of the value in the key is determined by the keypos field in -- each subtable. --]] local cats = cfg.protectionCategories for i = 1, 2^noActive do local key = {} for j, t in ipairs(attemptOrder) do if j > noActive then key[t.keypos] = 'all' else local quotient = i / 2 ^ (j - 1) quotient = math.ceil(quotient) if quotient % 2 == 1 then key[t.keypos] = t.val else key[t.keypos] = 'all' end end end key = table.concat(key, '|') local attempt = cats[key] if attempt then return makeCategoryLink(attempt, title.text) end end return '' end function Protection:isIncorrect() local expiry = self.expiry return not self:shouldHaveProtectionCategory() or type(expiry) == 'number' and expiry < os.time() end function Protection:isTemplateProtectedNonTemplate() local action, namespace = self.action, self.title.namespace return self.level == 'templateeditor' and ( (action ~= 'edit' and action ~= 'move') or (namespace ~= 10 and namespace ~= 828) ) end function Protection:makeCategoryLinks() local msg = self._cfg.msg local ret = {self:makeProtectionCategory()} if self:isIncorrect() then ret[#ret + 1] = makeCategoryLink( msg['tracking-category-incorrect'], self.title.text ) end if self:isTemplateProtectedNonTemplate() then ret[#ret + 1] = makeCategoryLink( msg['tracking-category-template'], self.title.text ) end return table.concat(ret) end -------------------------------------------------------------------------------- -- Blurb class -------------------------------------------------------------------------------- local Blurb = {} Blurb.__index = Blurb Blurb.bannerTextFields = { text = true, explanation = true, tooltip = true, alt = true, link = true } function Blurb.new(protectionObj, args, cfg) return setmetatable({ _cfg = cfg, _protectionObj = protectionObj, _args = args }, Blurb) end -- Private methods -- function Blurb:_formatDate(num) -- Formats a Unix timestamp into dd Month, YYYY format. lang = lang or mw.language.getContentLanguage() local success, date = pcall( lang.formatDate, lang, self._cfg.msg['expiry-date-format'] or 'j F Y', '@' .. tostring(num) ) if success then return date end end function Blurb:_getExpandedMessage(msgKey) return self:_substituteParameters(self._cfg.msg[msgKey]) end function Blurb:_substituteParameters(msg) if not self._params then local parameterFuncs = {} parameterFuncs.CURRENTVERSION = self._makeCurrentVersionParameter parameterFuncs.EDITREQUEST = self._makeEditRequestParameter parameterFuncs.EXPIRY = self._makeExpiryParameter parameterFuncs.EXPLANATIONBLURB = self._makeExplanationBlurbParameter parameterFuncs.IMAGELINK = self._makeImageLinkParameter parameterFuncs.INTROBLURB = self._makeIntroBlurbParameter parameterFuncs.INTROFRAGMENT = self._makeIntroFragmentParameter parameterFuncs.PAGETYPE = self._makePagetypeParameter parameterFuncs.PROTECTIONBLURB = self._makeProtectionBlurbParameter parameterFuncs.PROTECTIONDATE = self._makeProtectionDateParameter parameterFuncs.PROTECTIONLEVEL = self._makeProtectionLevelParameter parameterFuncs.PROTECTIONLOG = self._makeProtectionLogParameter parameterFuncs.TALKPAGE = self._makeTalkPageParameter parameterFuncs.TOOLTIPBLURB = self._makeTooltipBlurbParameter parameterFuncs.TOOLTIPFRAGMENT = self._makeTooltipFragmentParameter parameterFuncs.VANDAL = self._makeVandalTemplateParameter self._params = setmetatable({}, { __index = function (t, k) local param if parameterFuncs[k] then param = parameterFuncs[k](self) end param = param or '' t[k] = param return param end }) end msg = msg:gsub('${(%u+)}', self._params) return msg end function Blurb:_makeCurrentVersionParameter() -- A link to the page history or the move log, depending on the kind of -- protection. local pagename = self._protectionObj.title.prefixedText if self._protectionObj.action == 'move' then -- We need the move log link. return makeFullUrl( 'Special:Log', {type = 'move', page = pagename}, self:_getExpandedMessage('current-version-move-display') ) else -- We need the history link. return makeFullUrl( pagename, {action = 'history'}, self:_getExpandedMessage('current-version-edit-display') ) end end function Blurb:_makeEditRequestParameter() local mEditRequest = require('Module:Submit an edit request') local action = self._protectionObj.action local level = self._protectionObj.level -- Get the edit request type. local requestType if action == 'edit' then if level == 'autoconfirmed' then requestType = 'semi' elseif level == 'extendedconfirmed' then requestType = 'extended' elseif level == 'templateeditor' then requestType = 'template' end end requestType = requestType or 'full' -- Get the display value. local display = self:_getExpandedMessage('edit-request-display') return mEditRequest._link{type = requestType, display = display} end function Blurb:_makeExpiryParameter() local expiry = self._protectionObj.expiry if type(expiry) == 'number' then return self:_formatDate(expiry) else return expiry end end function Blurb:_makeExplanationBlurbParameter() -- Cover special cases first. if self._protectionObj.title.namespace == 8 then -- MediaWiki namespace return self:_getExpandedMessage('explanation-blurb-nounprotect') end -- Get explanation blurb table keys local action = self._protectionObj.action local level = self._protectionObj.level local talkKey = self._protectionObj.title.isTalkPage and 'talk' or 'subject' -- Find the message in the explanation blurb table and substitute any -- parameters. local explanations = self._cfg.explanationBlurbs local msg if explanations[action][level] and explanations[action][level][talkKey] then msg = explanations[action][level][talkKey] elseif explanations[action][level] and explanations[action][level].default then msg = explanations[action][level].default elseif explanations[action].default and explanations[action].default[talkKey] then msg = explanations[action].default[talkKey] elseif explanations[action].default and explanations[action].default.default then msg = explanations[action].default.default else error(string.format( 'could not find explanation blurb for action "%s", level "%s" and talk key "%s"', action, level, talkKey ), 8) end return self:_substituteParameters(msg) end function Blurb:_makeImageLinkParameter() local imageLinks = self._cfg.imageLinks local action = self._protectionObj.action local level = self._protectionObj.level local msg if imageLinks[action][level] then msg = imageLinks[action][level] elseif imageLinks[action].default then msg = imageLinks[action].default else msg = imageLinks.edit.default end return self:_substituteParameters(msg) end function Blurb:_makeIntroBlurbParameter() if self._protectionObj:isTemporary() then return self:_getExpandedMessage('intro-blurb-expiry') else return self:_getExpandedMessage('intro-blurb-noexpiry') end end function Blurb:_makeIntroFragmentParameter() if self._protectionObj:isTemporary() then return self:_getExpandedMessage('intro-fragment-expiry') else return self:_getExpandedMessage('intro-fragment-noexpiry') end end function Blurb:_makePagetypeParameter() local pagetypes = self._cfg.pagetypes return pagetypes[self._protectionObj.title.namespace] or pagetypes.default or error('no default pagetype defined', 8) end function Blurb:_makeProtectionBlurbParameter() local protectionBlurbs = self._cfg.protectionBlurbs local action = self._protectionObj.action local level = self._protectionObj.level local msg if protectionBlurbs[action][level] then msg = protectionBlurbs[action][level] elseif protectionBlurbs[action].default then msg = protectionBlurbs[action].default elseif protectionBlurbs.edit.default then msg = protectionBlurbs.edit.default else error('no protection blurb defined for protectionBlurbs.edit.default', 8) end return self:_substituteParameters(msg) end function Blurb:_makeProtectionDateParameter() local protectionDate = self._protectionObj.protectionDate if type(protectionDate) == 'number' then return self:_formatDate(protectionDate) else return protectionDate end end function Blurb:_makeProtectionLevelParameter() local protectionLevels = self._cfg.protectionLevels local action = self._protectionObj.action local level = self._protectionObj.level local msg if protectionLevels[action][level] then msg = protectionLevels[action][level] elseif protectionLevels[action].default then msg = protectionLevels[action].default elseif protectionLevels.edit.default then msg = protectionLevels.edit.default else error('no protection level defined for protectionLevels.edit.default', 8) end return self:_substituteParameters(msg) end function Blurb:_makeProtectionLogParameter() local pagename = self._protectionObj.title.prefixedText if self._protectionObj.action == 'autoreview' then -- We need the pending changes log. return makeFullUrl( 'Special:Log', {type = 'stable', page = pagename}, self:_getExpandedMessage('pc-log-display') ) else -- We need the protection log. return makeFullUrl( 'Special:Log', {type = 'protect', page = pagename}, self:_getExpandedMessage('protection-log-display') ) end end function Blurb:_makeTalkPageParameter() return string.format( '[[%s:%s#%s|%s]]', mw.site.namespaces[self._protectionObj.title.namespace].talk.name, self._protectionObj.title.text, self._args.section or 'top', self:_getExpandedMessage('talk-page-link-display') ) end function Blurb:_makeTooltipBlurbParameter() if self._protectionObj:isTemporary() then return self:_getExpandedMessage('tooltip-blurb-expiry') else return self:_getExpandedMessage('tooltip-blurb-noexpiry') end end function Blurb:_makeTooltipFragmentParameter() if self._protectionObj:isTemporary() then return self:_getExpandedMessage('tooltip-fragment-expiry') else return self:_getExpandedMessage('tooltip-fragment-noexpiry') end end function Blurb:_makeVandalTemplateParameter() return mw.getCurrentFrame():expandTemplate{ title="vandal-m", args={self._args.user or self._protectionObj.title.baseText} } end -- Public methods -- function Blurb:makeBannerText(key) -- Validate input. if not key or not Blurb.bannerTextFields[key] then error(string.format( '"%s" is not a valid banner config field', tostring(key) ), 2) end -- Generate the text. local msg = self._protectionObj.bannerConfig[key] if type(msg) == 'string' then return self:_substituteParameters(msg) elseif type(msg) == 'function' then msg = msg(self._protectionObj, self._args) if type(msg) ~= 'string' then error(string.format( 'bad output from banner config function with key "%s"' .. ' (expected string, got %s)', tostring(key), type(msg) ), 4) end return self:_substituteParameters(msg) end end -------------------------------------------------------------------------------- -- BannerTemplate class -------------------------------------------------------------------------------- local BannerTemplate = {} BannerTemplate.__index = BannerTemplate function BannerTemplate.new(protectionObj, cfg) local obj = {} obj._cfg = cfg -- Set the image filename. local imageFilename = protectionObj.bannerConfig.image if imageFilename then obj._imageFilename = imageFilename else -- If an image filename isn't specified explicitly in the banner config, -- generate it from the protection status and the namespace. local action = protectionObj.action local level = protectionObj.level local namespace = protectionObj.title.namespace local reason = protectionObj.reason -- Deal with special cases first. if ( namespace == 10 or namespace == 828 or reason and obj._cfg.indefImageReasons[reason] ) and action == 'edit' and level == 'sysop' and not protectionObj:isTemporary() then -- Fully protected modules and templates get the special red "indef" -- padlock. obj._imageFilename = obj._cfg.msg['image-filename-indef'] else -- Deal with regular protection types. local images = obj._cfg.images if images[action] then if images[action][level] then obj._imageFilename = images[action][level] elseif images[action].default then obj._imageFilename = images[action].default end end end end return setmetatable(obj, BannerTemplate) end function BannerTemplate:renderImage() local filename = self._imageFilename or self._cfg.msg['image-filename-default'] or 'Transparent.gif' return makeFileLink{ file = filename, size = (self.imageWidth or 20) .. 'px', alt = self._imageAlt, link = self._imageLink, caption = self.imageCaption } end -------------------------------------------------------------------------------- -- Banner class -------------------------------------------------------------------------------- local Banner = setmetatable({}, BannerTemplate) Banner.__index = Banner function Banner.new(protectionObj, blurbObj, cfg) local obj = BannerTemplate.new(protectionObj, cfg) -- This doesn't need the blurb. obj.imageWidth = 40 obj.imageCaption = blurbObj:makeBannerText('alt') -- Large banners use the alt text for the tooltip. obj._reasonText = blurbObj:makeBannerText('text') obj._explanationText = blurbObj:makeBannerText('explanation') obj._page = protectionObj.title.prefixedText -- Only makes a difference in testing. return setmetatable(obj, Banner) end function Banner:__tostring() -- Renders the banner. makeMessageBox = makeMessageBox or require('Module:Message box').main local reasonText = self._reasonText or error('no reason text set', 2) local explanationText = self._explanationText local mbargs = { page = self._page, type = 'protection', image = self:renderImage(), text = string.format( "'''%s'''%s", reasonText, explanationText and '<br />' .. explanationText or '' ) } return makeMessageBox('mbox', mbargs) end -------------------------------------------------------------------------------- -- Padlock class -------------------------------------------------------------------------------- local Padlock = setmetatable({}, BannerTemplate) Padlock.__index = Padlock function Padlock.new(protectionObj, blurbObj, cfg) local obj = BannerTemplate.new(protectionObj, cfg) -- This doesn't need the blurb. obj.imageWidth = 20 obj.imageCaption = blurbObj:makeBannerText('tooltip') obj._imageAlt = blurbObj:makeBannerText('alt') obj._imageLink = blurbObj:makeBannerText('link') obj._indicatorName = cfg.padlockIndicatorNames[protectionObj.action] or cfg.padlockIndicatorNames.default or 'pp-default' return setmetatable(obj, Padlock) end function Padlock:__tostring() local frame = mw.getCurrentFrame() -- The nowiki tag helps prevent whitespace at the top of articles. return frame:extensionTag{name = 'nowiki'} .. frame:extensionTag{ name = 'indicator', args = {name = self._indicatorName}, content = self:renderImage() } end -------------------------------------------------------------------------------- -- Exports -------------------------------------------------------------------------------- local p = {} function p._exportClasses() -- This is used for testing purposes. return { Protection = Protection, Blurb = Blurb, BannerTemplate = BannerTemplate, Banner = Banner, Padlock = Padlock, } end function p._main(args, cfg, title) args = args or {} cfg = cfg or require(CONFIG_MODULE) local protectionObj = Protection.new(args, cfg, title) local ret = {} -- If a page's edit protection is equally or more restrictive than its -- protection from some other action, then don't bother displaying anything -- for the other action (except categories). if not yesno(args.catonly) and (protectionObj.action == 'edit' or args.demolevel or not getReachableNodes( cfg.hierarchy, protectionObj.level )[effectiveProtectionLevel('edit', protectionObj.title)]) then -- Initialise the blurb object local blurbObj = Blurb.new(protectionObj, args, cfg) -- Render the banner if protectionObj:shouldShowLock() then ret[#ret + 1] = tostring( (yesno(args.small) and Padlock or Banner) .new(protectionObj, blurbObj, cfg) ) end end -- Render the categories if yesno(args.category) ~= false then ret[#ret + 1] = protectionObj:makeCategoryLinks() end return table.concat(ret) end function p.main(frame, cfg) cfg = cfg or require(CONFIG_MODULE) -- Find default args, if any. local parent = frame.getParent and frame:getParent() local defaultArgs = parent and cfg.wrappers[parent:getTitle():gsub('/sandbox$', '')] -- Find user args, and use the parent frame if we are being called from a -- wrapper template. getArgs = getArgs or require('Module:Arguments').getArgs local userArgs = getArgs(frame, { parentOnly = defaultArgs, frameOnly = not defaultArgs }) -- Build the args table. User-specified args overwrite default args. local args = {} for k, v in pairs(defaultArgs or {}) do args[k] = v end for k, v in pairs(userArgs) do args[k] = v end return p._main(args, cfg) end return p 894f0884d4c2da1ce19d385b96f59af654b0946a 828 139 1003 1002 2023-06-09T18:10:05Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Protection_banner/config]] Scribunto text/plain -- This module provides configuration data for [[Module:Protection banner]]. return { -------------------------------------------------------------------------------- -- -- BANNER DATA -- -------------------------------------------------------------------------------- --[[ -- Banner data consists of six fields: -- * text - the main protection text that appears at the top of protection -- banners. -- * explanation - the text that appears below the main protection text, used -- to explain the details of the protection. -- * tooltip - the tooltip text you see when you move the mouse over a small -- padlock icon. -- * link - the page that the small padlock icon links to. -- * alt - the alt text for the small padlock icon. This is also used as tooltip -- text for the large protection banners. -- * image - the padlock image used in both protection banners and small padlock -- icons. -- -- The module checks in three separate tables to find a value for each field. -- First it checks the banners table, which has values specific to the reason -- for the page being protected. Then the module checks the defaultBanners -- table, which has values specific to each protection level. Finally, the -- module checks the masterBanner table, which holds data for protection -- templates to use if no data has been found in the previous two tables. -- -- The values in the banner data can take parameters. These are specified -- using ${TEXTLIKETHIS} (a dollar sign preceding a parameter name -- enclosed in curly braces). -- -- Available parameters: -- -- ${CURRENTVERSION} - a link to the page history or the move log, with the -- display message "current-version-edit-display" or -- "current-version-move-display". -- -- ${EDITREQUEST} - a link to create an edit request for the current page. -- -- ${EXPLANATIONBLURB} - an explanation blurb, e.g. "Please discuss any changes -- on the talk page; you may submit a request to ask an administrator to make -- an edit if it is minor or supported by consensus." -- -- ${IMAGELINK} - a link to set the image to, depending on the protection -- action and protection level. -- -- ${INTROBLURB} - the PROTECTIONBLURB parameter, plus the expiry if an expiry -- is set. E.g. "Editing of this page by new or unregistered users is currently -- disabled until dd Month YYYY." -- -- ${INTROFRAGMENT} - the same as ${INTROBLURB}, but without final punctuation -- so that it can be used in run-on sentences. -- -- ${PAGETYPE} - the type of the page, e.g. "article" or "template". -- Defined in the cfg.pagetypes table. -- -- ${PROTECTIONBLURB} - a blurb explaining the protection level of the page, e.g. -- "Editing of this page by new or unregistered users is currently disabled" -- -- ${PROTECTIONDATE} - the protection date, if it has been supplied to the -- template. -- -- ${PROTECTIONLEVEL} - the protection level, e.g. "fully protected" or -- "semi-protected". -- -- ${PROTECTIONLOG} - a link to the protection log or the pending changes log, -- depending on the protection action. -- -- ${TALKPAGE} - a link to the talk page. If a section is specified, links -- straight to that talk page section. -- -- ${TOOLTIPBLURB} - uses the PAGETYPE, PROTECTIONTYPE and EXPIRY parameters to -- create a blurb like "This template is semi-protected", or "This article is -- move-protected until DD Month YYYY". -- -- ${VANDAL} - links for the specified username (or the root page name) -- using Module:Vandal-m. -- -- Functions -- -- For advanced users, it is possible to use Lua functions instead of strings -- in the banner config tables. Using functions gives flexibility that is not -- possible just by using parameters. Functions take two arguments, the -- protection object and the template arguments, and they must output a string. -- -- For example: -- -- text = function (protectionObj, args) -- if protectionObj.level == 'autoconfirmed' then -- return 'foo' -- else -- return 'bar' -- end -- end -- -- Some protection object properties and methods that may be useful: -- protectionObj.action - the protection action -- protectionObj.level - the protection level -- protectionObj.reason - the protection reason -- protectionObj.expiry - the expiry. Nil if unset, the string "indef" if set -- to indefinite, and the protection time in unix time if temporary. -- protectionObj.protectionDate - the protection date in unix time, or nil if -- unspecified. -- protectionObj.bannerConfig - the banner config found by the module. Beware -- of editing the config field used by the function, as it could create an -- infinite loop. -- protectionObj:isProtected - returns a boolean showing whether the page is -- protected. -- protectionObj:isTemporary - returns a boolean showing whether the expiry is -- temporary. -- protectionObj:isIncorrect - returns a boolean showing whether the protection -- template is incorrect. --]] -- The master banner data, used if no values have been found in banners or -- defaultBanners. masterBanner = { text = '${INTROBLURB}', explanation = '${EXPLANATIONBLURB}', tooltip = '${TOOLTIPBLURB}', link = '${IMAGELINK}', alt = 'Page ${PROTECTIONLEVEL}' }, -- The default banner data. This holds banner data for different protection -- levels. -- *required* - this table needs edit, move, autoreview and upload subtables. defaultBanners = { edit = {}, move = {}, autoreview = { default = { alt = 'Page protected with pending changes', tooltip = 'All edits by unregistered and new users are subject to review prior to becoming visible to unregistered users', image = 'Pending-protection-shackle.svg' } }, upload = {} }, -- The banner data. This holds banner data for different protection reasons. -- In fact, the reasons specified in this table control which reasons are -- valid inputs to the first positional parameter. -- -- There is also a non-standard "description" field that can be used for items -- in this table. This is a description of the protection reason for use in the -- module documentation. -- -- *required* - this table needs edit, move, autoreview and upload subtables. banners = { edit = { blp = { description = 'For pages protected to promote compliance with the' .. ' [[Wikipedia:Biographies of living persons' .. '|biographies of living persons]] policy', text = '${INTROFRAGMENT} to promote compliance with' .. ' [[Wikipedia:Biographies of living persons' .. "|Wikipedia's&nbsp;policy on&nbsp;the&nbsp;biographies" .. ' of&nbsp;living&nbsp;people]].', tooltip = '${TOOLTIPFRAGMENT} to promote compliance with the policy on' .. ' biographies of living persons', }, dmca = { description = 'For pages protected by the Wikimedia Foundation' .. ' due to [[Digital Millennium Copyright Act]] takedown requests', explanation = function (protectionObj, args) local ret = 'Pursuant to a rights owner notice under the Digital' .. ' Millennium Copyright Act (DMCA) regarding some content' .. ' in this article, the Wikimedia Foundation acted under' .. ' applicable law and took down and restricted the content' .. ' in question.' if args.notice then ret = ret .. ' A copy of the received notice can be found here: ' .. args.notice .. '.' end ret = ret .. ' For more information, including websites discussing' .. ' how to file a counter-notice, please see' .. " [[Wikipedia:Office actions]] and the article's ${TALKPAGE}." .. "'''Do not remove this template from the article until the" .. " restrictions are withdrawn'''." return ret end, image = 'Office-protection-shackle.svg', }, dispute = { description = 'For pages protected due to editing disputes', text = function (protectionObj, args) -- Find the value of "disputes". local display = 'disputes' local disputes if args.section then disputes = string.format( '[[%s:%s#%s|%s]]', mw.site.namespaces[protectionObj.title.namespace].talk.name, protectionObj.title.text, args.section, display ) else disputes = display end -- Make the blurb, depending on the expiry. local msg if type(protectionObj.expiry) == 'number' then msg = '${INTROFRAGMENT} or until editing %s have been resolved.' else msg = '${INTROFRAGMENT} until editing %s have been resolved.' end return string.format(msg, disputes) end, explanation = "This protection is '''not''' an endorsement of the" .. ' ${CURRENTVERSION}. ${EXPLANATIONBLURB}', tooltip = '${TOOLTIPFRAGMENT} due to editing disputes', }, ecp = { description = 'For articles in topic areas authorized by' .. ' [[Wikipedia:Arbitration Committee|ArbCom]] or' .. ' meets the criteria for community use', tooltip = 'This ${PAGETYPE} is ${PROTECTIONLEVEL}', alt = 'Extended-protected ${PAGETYPE}', }, mainpage = { description = 'For pages protected for being displayed on the [[Main Page]]', text = 'This file is currently' .. ' [[Wikipedia:This page is protected|protected]] from' .. ' editing because it is currently or will soon be displayed' .. ' on the [[Main Page]].', explanation = 'Images on the Main Page are protected due to their high' .. ' visibility. Please discuss any necessary changes on the ${TALKPAGE}.' .. '<br /><span style="font-size:90%;">' .. "'''Administrators:''' Once this image is definitely off the Main Page," .. ' please unprotect this file, or reduce to semi-protection,' .. ' as appropriate.</span>', }, office = { description = 'For pages protected by the Wikimedia Foundation', text = function (protectionObj, args) local ret = 'This ${PAGETYPE} is currently under the' .. ' scrutiny of the' .. ' [[Wikipedia:Office actions|Wikimedia Foundation Office]]' .. ' and is protected.' if protectionObj.protectionDate then ret = ret .. ' It has been protected since ${PROTECTIONDATE}.' end return ret end, explanation = "If you can edit this page, please discuss all changes and" .. " additions on the ${TALKPAGE} first. '''Do not remove protection from this" .. " page unless you are authorized by the Wikimedia Foundation to do" .. " so.'''", image = 'Office-protection-shackle.svg', }, reset = { description = 'For pages protected by the Wikimedia Foundation and' .. ' "reset" to a bare-bones version', text = 'This ${PAGETYPE} is currently under the' .. ' scrutiny of the' .. ' [[Wikipedia:Office actions|Wikimedia Foundation Office]]' .. ' and is protected.', explanation = function (protectionObj, args) local ret = '' if protectionObj.protectionDate then ret = ret .. 'On ${PROTECTIONDATE} this ${PAGETYPE} was' else ret = ret .. 'This ${PAGETYPE} has been' end ret = ret .. ' reduced to a' .. ' simplified, "bare bones" version so that it may be completely' .. ' rewritten to ensure it meets the policies of' .. ' [[WP:NPOV|Neutral Point of View]] and [[WP:V|Verifiability]].' .. ' Standard Wikipedia policies will apply to its rewriting—which' .. ' will eventually be open to all editors—and will be strictly' .. ' enforced. The ${PAGETYPE} has been ${PROTECTIONLEVEL} while' .. ' it is being rebuilt.\n\n' .. 'Any insertion of material directly from' .. ' pre-protection revisions of the ${PAGETYPE} will be removed, as' .. ' will any material added to the ${PAGETYPE} that is not properly' .. ' sourced. The associated talk page(s) were also cleared on the' .. " same date.\n\n" .. "If you can edit this page, please discuss all changes and" .. " additions on the ${TALKPAGE} first. '''Do not override" .. " this action, and do not remove protection from this page," .. " unless you are authorized by the Wikimedia Foundation" .. " to do so. No editor may remove this notice.'''" return ret end, image = 'Office-protection-shackle.svg', }, sock = { description = 'For pages protected due to' .. ' [[Wikipedia:Sock puppetry|sock puppetry]]', text = '${INTROFRAGMENT} to prevent [[Wikipedia:Sock puppetry|sock puppets]] of' .. ' [[Wikipedia:Blocking policy|blocked]] or' .. ' [[Wikipedia:Banning policy|banned users]]' .. ' from editing it.', tooltip = '${TOOLTIPFRAGMENT} to prevent sock puppets of blocked or banned users from' .. ' editing it', }, template = { description = 'For [[Wikipedia:High-risk templates|high-risk]]' .. ' templates and Lua modules', text = 'This is a permanently [[Help:Protection|protected]] ${PAGETYPE},' .. ' as it is [[Wikipedia:High-risk templates|high-risk]].', explanation = 'Please discuss any changes on the ${TALKPAGE}; you may' .. ' ${EDITREQUEST} to ask an' .. ' [[Wikipedia:Administrators|administrator]] or' .. ' [[Wikipedia:Template editor|template editor]] to make an edit if' .. ' it is [[Help:Minor edit#When to mark an edit as a minor edit' .. '|uncontroversial]] or supported by' .. ' [[Wikipedia:Consensus|consensus]]. You can also' .. ' [[Wikipedia:Requests for page protection|request]] that the page be' .. ' unprotected.', tooltip = 'This high-risk ${PAGETYPE} is permanently ${PROTECTIONLEVEL}' .. ' to prevent vandalism', alt = 'Permanently protected ${PAGETYPE}', }, usertalk = { description = 'For pages protected against disruptive edits by a' .. ' particular user', text = '${INTROFRAGMENT} to prevent ${VANDAL} from using it to make disruptive edits,' .. ' such as abusing the' .. ' &#123;&#123;[[Template:unblock|unblock]]&#125;&#125; template.', explanation = 'If you cannot edit this user talk page and you need to' .. ' make a change or leave a message, you can' .. ' [[Wikipedia:Requests for page protection' .. '#Current requests for edits to a protected page' .. '|request an edit]],' .. ' [[Wikipedia:Requests for page protection' .. '#Current requests for reduction in protection level' .. '|request unprotection]],' .. ' [[Special:Userlogin|log in]],' .. ' or [[Special:UserLogin/signup|create an account]].', }, vandalism = { description = 'For pages protected against' .. ' [[Wikipedia:Vandalism|vandalism]]', text = '${INTROFRAGMENT} due to [[Wikipedia:Vandalism|vandalism]].', explanation = function (protectionObj, args) local ret = '' if protectionObj.level == 'sysop' then ret = ret .. "This protection is '''not''' an endorsement of the" .. ' ${CURRENTVERSION}. ' end return ret .. '${EXPLANATIONBLURB}' end, tooltip = '${TOOLTIPFRAGMENT} due to vandalism', } }, move = { dispute = { description = 'For pages protected against page moves due to' .. ' disputes over the page title', explanation = "This protection is '''not''' an endorsement of the" .. ' ${CURRENTVERSION}. ${EXPLANATIONBLURB}', image = 'Move-protection-shackle.svg' }, vandalism = { description = 'For pages protected against' .. ' [[Wikipedia:Vandalism#Page-move vandalism' .. ' |page-move vandalism]]' } }, autoreview = {}, upload = {} }, -------------------------------------------------------------------------------- -- -- GENERAL DATA TABLES -- -------------------------------------------------------------------------------- -------------------------------------------------------------------------------- -- Protection blurbs -------------------------------------------------------------------------------- -- This table produces the protection blurbs available with the -- ${PROTECTIONBLURB} parameter. It is sorted by protection action and -- protection level, and is checked by the module in the following order: -- 1. page's protection action, page's protection level -- 2. page's protection action, default protection level -- 3. "edit" protection action, default protection level -- -- It is possible to use banner parameters inside this table. -- *required* - this table needs edit, move, autoreview and upload subtables. protectionBlurbs = { edit = { default = 'This ${PAGETYPE} is currently [[Help:Protection|' .. 'protected]] from editing', autoconfirmed = 'Editing of this ${PAGETYPE} by [[Wikipedia:User access' .. ' levels#New users|new]] or [[Wikipedia:User access levels#Unregistered' .. ' users|unregistered]] users is currently [[Help:Protection|disabled]]', extendedconfirmed = 'This ${PAGETYPE} is currently under extended confirmed protection', }, move = { default = 'This ${PAGETYPE} is currently [[Help:Protection|protected]]' .. ' from [[Help:Moving a page|page moves]]' }, autoreview = { default = 'All edits made to this ${PAGETYPE} by' .. ' [[Wikipedia:User access levels#New users|new]] or' .. ' [[Wikipedia:User access levels#Unregistered users|unregistered]]' .. ' users are currently' .. ' [[Wikipedia:Pending changes|subject to review]]' }, upload = { default = 'Uploading new versions of this ${PAGETYPE} is currently disabled' } }, -------------------------------------------------------------------------------- -- Explanation blurbs -------------------------------------------------------------------------------- -- This table produces the explanation blurbs available with the -- ${EXPLANATIONBLURB} parameter. It is sorted by protection action, -- protection level, and whether the page is a talk page or not. If the page is -- a talk page it will have a talk key of "talk"; otherwise it will have a talk -- key of "subject". The table is checked in the following order: -- 1. page's protection action, page's protection level, page's talk key -- 2. page's protection action, page's protection level, default talk key -- 3. page's protection action, default protection level, page's talk key -- 4. page's protection action, default protection level, default talk key -- -- It is possible to use banner parameters inside this table. -- *required* - this table needs edit, move, autoreview and upload subtables. explanationBlurbs = { edit = { autoconfirmed = { subject = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details. If you' .. ' cannot edit this ${PAGETYPE} and you wish to make a change, you can' .. ' ${EDITREQUEST}, discuss changes on the ${TALKPAGE},' .. ' [[Wikipedia:Requests for page protection' .. '#Current requests for reduction in protection level' .. '|request unprotection]], [[Special:Userlogin|log in]], or' .. ' [[Special:UserLogin/signup|create an account]].', default = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details. If you' .. ' cannot edit this ${PAGETYPE} and you wish to make a change, you can' .. ' [[Wikipedia:Requests for page protection' .. '#Current requests for reduction in protection level' .. '|request unprotection]], [[Special:Userlogin|log in]], or' .. ' [[Special:UserLogin/signup|create an account]].', }, extendedconfirmed = { default = 'Extended confirmed protection prevents edits from all unregistered editors' .. ' and registered users with fewer than 30 days tenure and 500 edits.' .. ' The [[Wikipedia:Protection policy#extended|policy on community use]]' .. ' specifies that extended confirmed protection can be applied to combat' .. ' disruption, if semi-protection has proven to be ineffective.' .. ' Extended confirmed protection may also be applied to enforce' .. ' [[Wikipedia:Arbitration Committee|arbitration sanctions]].' .. ' Please discuss any changes on the ${TALKPAGE}; you may' .. ' ${EDITREQUEST} to ask for uncontroversial changes supported by' .. ' [[Wikipedia:Consensus|consensus]].' }, default = { subject = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details.' .. ' Please discuss any changes on the ${TALKPAGE}; you' .. ' may ${EDITREQUEST} to ask an' .. ' [[Wikipedia:Administrators|administrator]] to make an edit if it' .. ' is [[Help:Minor edit#When to mark an edit as a minor edit' .. '|uncontroversial]] or supported by [[Wikipedia:Consensus' .. '|consensus]]. You may also [[Wikipedia:Requests for' .. ' page protection#Current requests for reduction in protection level' .. '|request]] that this page be unprotected.', default = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details.' .. ' You may [[Wikipedia:Requests for page' .. ' protection#Current requests for edits to a protected page|request an' .. ' edit]] to this page, or [[Wikipedia:Requests for' .. ' page protection#Current requests for reduction in protection level' .. '|ask]] for it to be unprotected.' } }, move = { default = { subject = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details.' .. ' The page may still be edited but cannot be moved' .. ' until unprotected. Please discuss any suggested moves on the' .. ' ${TALKPAGE} or at [[Wikipedia:Requested moves]]. You can also' .. ' [[Wikipedia:Requests for page protection|request]] that the page be' .. ' unprotected.', default = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details.' .. ' The page may still be edited but cannot be moved' .. ' until unprotected. Please discuss any suggested moves at' .. ' [[Wikipedia:Requested moves]]. You can also' .. ' [[Wikipedia:Requests for page protection|request]] that the page be' .. ' unprotected.' } }, autoreview = { default = { default = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details.' .. ' Edits to this ${PAGETYPE} by new and unregistered users' .. ' will not be visible to readers until they are accepted by' .. ' a reviewer. To avoid the need for your edits to be' .. ' reviewed, you may' .. ' [[Wikipedia:Requests for page protection' .. '#Current requests for reduction in protection level' .. '|request unprotection]], [[Special:Userlogin|log in]], or' .. ' [[Special:UserLogin/signup|create an account]].' }, }, upload = { default = { default = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details.' .. ' The page may still be edited but new versions of the file' .. ' cannot be uploaded until it is unprotected. You can' .. ' request that a new version be uploaded by using a' .. ' [[Wikipedia:Edit requests|protected edit request]], or you' .. ' can [[Wikipedia:Requests for page protection|request]]' .. ' that the file be unprotected.' } } }, -------------------------------------------------------------------------------- -- Protection levels -------------------------------------------------------------------------------- -- This table provides the data for the ${PROTECTIONLEVEL} parameter, which -- produces a short label for different protection levels. It is sorted by -- protection action and protection level, and is checked in the following -- order: -- 1. page's protection action, page's protection level -- 2. page's protection action, default protection level -- 3. "edit" protection action, default protection level -- -- It is possible to use banner parameters inside this table. -- *required* - this table needs edit, move, autoreview and upload subtables. protectionLevels = { edit = { default = 'protected', templateeditor = 'template-protected', extendedconfirmed = 'extended-protected', autoconfirmed = 'semi-protected', }, move = { default = 'move-protected' }, autoreview = { }, upload = { default = 'upload-protected' } }, -------------------------------------------------------------------------------- -- Images -------------------------------------------------------------------------------- -- This table lists different padlock images for each protection action and -- protection level. It is used if an image is not specified in any of the -- banner data tables, and if the page does not satisfy the conditions for using -- the ['image-filename-indef'] image. It is checked in the following order: -- 1. page's protection action, page's protection level -- 2. page's protection action, default protection level images = { edit = { default = 'Full-protection-shackle.svg', templateeditor = 'Template-protection-shackle.svg', extendedconfirmed = 'Extended-protection-shackle.svg', autoconfirmed = 'Semi-protection-shackle.svg' }, move = { default = 'Move-protection-shackle.svg', }, autoreview = { default = 'Pending-protection-shackle.svg' }, upload = { default = 'Upload-protection-shackle.svg' } }, -- Pages with a reason specified in this table will show the special "indef" -- padlock, defined in the 'image-filename-indef' message, if no expiry is set. indefImageReasons = { template = true }, -------------------------------------------------------------------------------- -- Image links -------------------------------------------------------------------------------- -- This table provides the data for the ${IMAGELINK} parameter, which gets -- the image link for small padlock icons based on the page's protection action -- and protection level. It is checked in the following order: -- 1. page's protection action, page's protection level -- 2. page's protection action, default protection level -- 3. "edit" protection action, default protection level -- -- It is possible to use banner parameters inside this table. -- *required* - this table needs edit, move, autoreview and upload subtables. imageLinks = { edit = { default = 'Wikipedia:Protection policy#full', templateeditor = 'Wikipedia:Protection policy#template', extendedconfirmed = 'Wikipedia:Protection policy#extended', autoconfirmed = 'Wikipedia:Protection policy#semi' }, move = { default = 'Wikipedia:Protection policy#move' }, autoreview = { default = 'Wikipedia:Protection policy#pending' }, upload = { default = 'Wikipedia:Protection policy#upload' } }, -------------------------------------------------------------------------------- -- Padlock indicator names -------------------------------------------------------------------------------- -- This table provides the "name" attribute for the <indicator> extension tag -- with which small padlock icons are generated. All indicator tags on a page -- are displayed in alphabetical order based on this attribute, and with -- indicator tags with duplicate names, the last tag on the page wins. -- The attribute is chosen based on the protection action; table keys must be a -- protection action name or the string "default". padlockIndicatorNames = { autoreview = 'pp-autoreview', default = 'pp-default' }, -------------------------------------------------------------------------------- -- Protection categories -------------------------------------------------------------------------------- --[[ -- The protection categories are stored in the protectionCategories table. -- Keys to this table are made up of the following strings: -- -- 1. the expiry date -- 2. the namespace -- 3. the protection reason (e.g. "dispute" or "vandalism") -- 4. the protection level (e.g. "sysop" or "autoconfirmed") -- 5. the action (e.g. "edit" or "move") -- -- When the module looks up a category in the table, first it will will check to -- see a key exists that corresponds to all five parameters. For example, a -- user page semi-protected from vandalism for two weeks would have the key -- "temp-user-vandalism-autoconfirmed-edit". If no match is found, the module -- changes the first part of the key to "all" and checks the table again. It -- keeps checking increasingly generic key combinations until it finds the -- field, or until it reaches the key "all-all-all-all-all". -- -- The module uses a binary matrix to determine the order in which to search. -- This is best demonstrated by a table. In this table, the "0" values -- represent "all", and the "1" values represent the original data (e.g. -- "indef" or "file" or "vandalism"). -- -- expiry namespace reason level action -- order -- 1 1 1 1 1 1 -- 2 0 1 1 1 1 -- 3 1 0 1 1 1 -- 4 0 0 1 1 1 -- 5 1 1 0 1 1 -- 6 0 1 0 1 1 -- 7 1 0 0 1 1 -- 8 0 0 0 1 1 -- 9 1 1 1 0 1 -- 10 0 1 1 0 1 -- 11 1 0 1 0 1 -- 12 0 0 1 0 1 -- 13 1 1 0 0 1 -- 14 0 1 0 0 1 -- 15 1 0 0 0 1 -- 16 0 0 0 0 1 -- 17 1 1 1 1 0 -- 18 0 1 1 1 0 -- 19 1 0 1 1 0 -- 20 0 0 1 1 0 -- 21 1 1 0 1 0 -- 22 0 1 0 1 0 -- 23 1 0 0 1 0 -- 24 0 0 0 1 0 -- 25 1 1 1 0 0 -- 26 0 1 1 0 0 -- 27 1 0 1 0 0 -- 28 0 0 1 0 0 -- 29 1 1 0 0 0 -- 30 0 1 0 0 0 -- 31 1 0 0 0 0 -- 32 0 0 0 0 0 -- -- In this scheme the action has the highest priority, as it is the last -- to change, and the expiry has the least priority, as it changes the most. -- The priorities of the expiry, the protection level and the action are -- fixed, but the priorities of the reason and the namespace can be swapped -- through the use of the cfg.bannerDataNamespaceHasPriority table. --]] -- If the reason specified to the template is listed in this table, -- namespace data will take priority over reason data in the protectionCategories -- table. reasonsWithNamespacePriority = { vandalism = true, }, -- The string to use as a namespace key for the protectionCategories table for each -- namespace number. categoryNamespaceKeys = { [ 2] = 'user', [ 3] = 'user', [ 4] = 'project', [ 6] = 'file', [ 8] = 'mediawiki', [ 10] = 'template', [ 12] = 'project', [ 14] = 'category', [100] = 'portal', [828] = 'module', }, protectionCategories = { ['all|all|all|all|all'] = 'Wikipedia fully protected pages', ['all|all|office|all|all'] = 'Wikipedia Office-protected pages', ['all|all|reset|all|all'] = 'Wikipedia Office-protected pages', ['all|all|dmca|all|all'] = 'Wikipedia Office-protected pages', ['all|all|mainpage|all|all'] = 'Wikipedia fully protected main page files', ['all|all|all|extendedconfirmed|all'] = 'Wikipedia extended-confirmed-protected pages', ['all|all|ecp|extendedconfirmed|all'] = 'Wikipedia extended-confirmed-protected pages', ['all|template|all|all|edit'] = 'Wikipedia fully protected templates', ['all|all|all|autoconfirmed|edit'] = 'Wikipedia semi-protected pages', ['indef|all|all|autoconfirmed|edit'] = 'Wikipedia indefinitely semi-protected pages', ['all|all|blp|autoconfirmed|edit'] = 'Wikipedia indefinitely semi-protected biographies of living people', ['temp|all|blp|autoconfirmed|edit'] = 'Wikipedia temporarily semi-protected biographies of living people', ['all|all|dispute|autoconfirmed|edit'] = 'Wikipedia pages semi-protected due to dispute', ['all|all|sock|autoconfirmed|edit'] = 'Wikipedia pages semi-protected from banned users', ['all|all|vandalism|autoconfirmed|edit'] = 'Wikipedia pages semi-protected against vandalism', ['all|category|all|autoconfirmed|edit'] = 'Wikipedia semi-protected categories', ['all|file|all|autoconfirmed|edit'] = 'Wikipedia semi-protected files', ['all|portal|all|autoconfirmed|edit'] = 'Wikipedia semi-protected portals', ['all|project|all|autoconfirmed|edit'] = 'Wikipedia semi-protected project pages', ['all|talk|all|autoconfirmed|edit'] = 'Wikipedia semi-protected talk pages', ['all|template|all|autoconfirmed|edit'] = 'Wikipedia semi-protected templates', ['all|user|all|autoconfirmed|edit'] = 'Wikipedia semi-protected user and user talk pages', ['all|all|all|templateeditor|edit'] = 'Wikipedia template-protected pages other than templates and modules', ['all|template|all|templateeditor|edit'] = 'Wikipedia template-protected templates', ['all|template|all|templateeditor|move'] = 'Wikipedia template-protected templates', -- move-protected templates ['all|all|blp|sysop|edit'] = 'Wikipedia indefinitely protected biographies of living people', ['temp|all|blp|sysop|edit'] = 'Wikipedia temporarily protected biographies of living people', ['all|all|dispute|sysop|edit'] = 'Wikipedia pages protected due to dispute', ['all|all|sock|sysop|edit'] = 'Wikipedia pages protected from banned users', ['all|all|vandalism|sysop|edit'] = 'Wikipedia pages protected against vandalism', ['all|category|all|sysop|edit'] = 'Wikipedia fully protected categories', ['all|file|all|sysop|edit'] = 'Wikipedia fully protected files', ['all|project|all|sysop|edit'] = 'Wikipedia fully protected project pages', ['all|talk|all|sysop|edit'] = 'Wikipedia fully protected talk pages', ['all|template|all|extendedconfirmed|edit'] = 'Wikipedia extended-confirmed-protected templates', ['all|template|all|sysop|edit'] = 'Wikipedia fully protected templates', ['all|user|all|sysop|edit'] = 'Wikipedia fully protected user and user talk pages', ['all|module|all|all|edit'] = 'Wikipedia fully protected modules', ['all|module|all|templateeditor|edit'] = 'Wikipedia template-protected modules', ['all|module|all|extendedconfirmed|edit'] = 'Wikipedia extended-confirmed-protected modules', ['all|module|all|autoconfirmed|edit'] = 'Wikipedia semi-protected modules', ['all|all|all|sysop|move'] = 'Wikipedia move-protected pages', ['indef|all|all|sysop|move'] = 'Wikipedia indefinitely move-protected pages', ['all|all|dispute|sysop|move'] = 'Wikipedia pages move-protected due to dispute', ['all|all|vandalism|sysop|move'] = 'Wikipedia pages move-protected due to vandalism', ['all|portal|all|sysop|move'] = 'Wikipedia move-protected portals', ['all|project|all|sysop|move'] = 'Wikipedia move-protected project pages', ['all|talk|all|sysop|move'] = 'Wikipedia move-protected talk pages', ['all|template|all|sysop|move'] = 'Wikipedia move-protected templates', ['all|user|all|sysop|move'] = 'Wikipedia move-protected user and user talk pages', ['all|all|all|autoconfirmed|autoreview'] = 'Wikipedia pending changes protected pages', ['all|file|all|all|upload'] = 'Wikipedia upload-protected files', }, -------------------------------------------------------------------------------- -- Expiry category config -------------------------------------------------------------------------------- -- This table configures the expiry category behaviour for each protection -- action. -- * If set to true, setting that action will always categorise the page if -- an expiry parameter is not set. -- * If set to false, setting that action will never categorise the page. -- * If set to nil, the module will categorise the page if: -- 1) an expiry parameter is not set, and -- 2) a reason is provided, and -- 3) the specified reason is not blacklisted in the reasonsWithoutExpiryCheck -- table. expiryCheckActions = { edit = nil, move = false, autoreview = true, upload = false }, reasonsWithoutExpiryCheck = { blp = true, template = true, }, -------------------------------------------------------------------------------- -- Pagetypes -------------------------------------------------------------------------------- -- This table produces the page types available with the ${PAGETYPE} parameter. -- Keys are namespace numbers, or the string "default" for the default value. pagetypes = { [0] = 'article', [6] = 'file', [10] = 'template', [14] = 'category', [828] = 'module', default = 'page' }, -------------------------------------------------------------------------------- -- Strings marking indefinite protection -------------------------------------------------------------------------------- -- This table contains values passed to the expiry parameter that mean the page -- is protected indefinitely. indefStrings = { ['indef'] = true, ['indefinite'] = true, ['indefinitely'] = true, ['infinite'] = true, }, -------------------------------------------------------------------------------- -- Group hierarchy -------------------------------------------------------------------------------- -- This table maps each group to all groups that have a superset of the original -- group's page editing permissions. hierarchy = { sysop = {}, reviewer = {'sysop'}, filemover = {'sysop'}, templateeditor = {'sysop'}, extendedconfirmed = {'sysop'}, autoconfirmed = {'reviewer', 'filemover', 'templateeditor', 'extendedconfirmed'}, user = {'autoconfirmed'}, ['*'] = {'user'} }, -------------------------------------------------------------------------------- -- Wrapper templates and their default arguments -------------------------------------------------------------------------------- -- This table contains wrapper templates used with the module, and their -- default arguments. Templates specified in this table should contain the -- following invocation, and no other template content: -- -- {{#invoke:Protection banner|main}} -- -- If other content is desired, it can be added between -- <noinclude>...</noinclude> tags. -- -- When a user calls one of these wrapper templates, they will use the -- default arguments automatically. However, users can override any of the -- arguments. wrappers = { ['Template:Pp'] = {}, ['Template:Pp-extended'] = {'ecp'}, ['Template:Pp-blp'] = {'blp'}, -- we don't need Template:Pp-create ['Template:Pp-dispute'] = {'dispute'}, ['Template:Pp-main-page'] = {'mainpage'}, ['Template:Pp-move'] = {action = 'move', catonly = 'yes'}, ['Template:Pp-move-dispute'] = {'dispute', action = 'move', catonly = 'yes'}, -- we don't need Template:Pp-move-indef ['Template:Pp-move-vandalism'] = {'vandalism', action = 'move', catonly = 'yes'}, ['Template:Pp-office'] = {'office'}, ['Template:Pp-office-dmca'] = {'dmca'}, ['Template:Pp-pc'] = {action = 'autoreview', small = true}, ['Template:Pp-pc1'] = {action = 'autoreview', small = true}, ['Template:Pp-reset'] = {'reset'}, ['Template:Pp-semi-indef'] = {small = true}, ['Template:Pp-sock'] = {'sock'}, ['Template:Pp-template'] = {'template', small = true}, ['Template:Pp-upload'] = {action = 'upload'}, ['Template:Pp-usertalk'] = {'usertalk'}, ['Template:Pp-vandalism'] = {'vandalism'}, }, -------------------------------------------------------------------------------- -- -- MESSAGES -- -------------------------------------------------------------------------------- msg = { -------------------------------------------------------------------------------- -- Intro blurb and intro fragment -------------------------------------------------------------------------------- -- These messages specify what is produced by the ${INTROBLURB} and -- ${INTROFRAGMENT} parameters. If the protection is temporary they use the -- intro-blurb-expiry or intro-fragment-expiry, and if not they use -- intro-blurb-noexpiry or intro-fragment-noexpiry. -- It is possible to use banner parameters in these messages. ['intro-blurb-expiry'] = '${PROTECTIONBLURB} until ${EXPIRY}.', ['intro-blurb-noexpiry'] = '${PROTECTIONBLURB}.', ['intro-fragment-expiry'] = '${PROTECTIONBLURB} until ${EXPIRY},', ['intro-fragment-noexpiry'] = '${PROTECTIONBLURB}', -------------------------------------------------------------------------------- -- Tooltip blurb -------------------------------------------------------------------------------- -- These messages specify what is produced by the ${TOOLTIPBLURB} parameter. -- If the protection is temporary the tooltip-blurb-expiry message is used, and -- if not the tooltip-blurb-noexpiry message is used. -- It is possible to use banner parameters in these messages. ['tooltip-blurb-expiry'] = 'This ${PAGETYPE} is ${PROTECTIONLEVEL} until ${EXPIRY}.', ['tooltip-blurb-noexpiry'] = 'This ${PAGETYPE} is ${PROTECTIONLEVEL}.', ['tooltip-fragment-expiry'] = 'This ${PAGETYPE} is ${PROTECTIONLEVEL} until ${EXPIRY},', ['tooltip-fragment-noexpiry'] = 'This ${PAGETYPE} is ${PROTECTIONLEVEL}', -------------------------------------------------------------------------------- -- Special explanation blurb -------------------------------------------------------------------------------- -- An explanation blurb for pages that cannot be unprotected, e.g. for pages -- in the MediaWiki namespace. -- It is possible to use banner parameters in this message. ['explanation-blurb-nounprotect'] = 'See the [[Wikipedia:Protection policy|' .. 'protection policy]] and ${PROTECTIONLOG} for more details.' .. ' Please discuss any changes on the ${TALKPAGE}; you' .. ' may ${EDITREQUEST} to ask an' .. ' [[Wikipedia:Administrators|administrator]] to make an edit if it' .. ' is [[Help:Minor edit#When to mark an edit as a minor edit' .. '|uncontroversial]] or supported by [[Wikipedia:Consensus' .. '|consensus]].', -------------------------------------------------------------------------------- -- Protection log display values -------------------------------------------------------------------------------- -- These messages determine the display values for the protection log link -- or the pending changes log link produced by the ${PROTECTIONLOG} parameter. -- It is possible to use banner parameters in these messages. ['protection-log-display'] = 'protection log', ['pc-log-display'] = 'pending changes log', -------------------------------------------------------------------------------- -- Current version display values -------------------------------------------------------------------------------- -- These messages determine the display values for the page history link -- or the move log link produced by the ${CURRENTVERSION} parameter. -- It is possible to use banner parameters in these messages. ['current-version-move-display'] = 'current title', ['current-version-edit-display'] = 'current version', -------------------------------------------------------------------------------- -- Talk page -------------------------------------------------------------------------------- -- This message determines the display value of the talk page link produced -- with the ${TALKPAGE} parameter. -- It is possible to use banner parameters in this message. ['talk-page-link-display'] = 'talk page', -------------------------------------------------------------------------------- -- Edit requests -------------------------------------------------------------------------------- -- This message determines the display value of the edit request link produced -- with the ${EDITREQUEST} parameter. -- It is possible to use banner parameters in this message. ['edit-request-display'] = 'submit an edit request', -------------------------------------------------------------------------------- -- Expiry date format -------------------------------------------------------------------------------- -- This is the format for the blurb expiry date. It should be valid input for -- the first parameter of the #time parser function. ['expiry-date-format'] = 'F j, Y "at" H:i e', -------------------------------------------------------------------------------- -- Tracking categories -------------------------------------------------------------------------------- -- These messages determine which tracking categories the module outputs. ['tracking-category-incorrect'] = 'Wikipedia pages with incorrect protection templates', ['tracking-category-template'] = 'Wikipedia template-protected pages other than templates and modules', -------------------------------------------------------------------------------- -- Images -------------------------------------------------------------------------------- -- These are images that are not defined by their protection action and protection level. ['image-filename-indef'] = 'Full-protection-shackle.svg', ['image-filename-default'] = 'Transparent.gif', -------------------------------------------------------------------------------- -- End messages -------------------------------------------------------------------------------- } -------------------------------------------------------------------------------- -- End configuration -------------------------------------------------------------------------------- } a20552ae38cb5253a4fa29aa126abc74215a589f 828 140 1005 1004 2023-06-09T18:10:05Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Redirect_hatnote]] Scribunto text/plain --[[ -- This module produces a "redirect" hatnote. It looks like this: -- '"X" redirects here. For other uses, see Y.' -- It implements the {{redirect}} template. --]] local mHatnote = require('Module:Hatnote') local mHatList = require('Module:Hatnote list') local mArguments --lazily initialize local libraryUtil = require('libraryUtil') local checkType = libraryUtil.checkType local checkTypeMulti = libraryUtil.checkTypeMulti local p = {} -------------------------------------------------------------------------------- -- Helper functions -------------------------------------------------------------------------------- local function getTitle(...) --Calls mw.title.new and returns either a title object, or nil on error local success, titleObj = pcall(mw.title.new, ...) return success and titleObj or nil end -------------------------------------------------------------------------------- -- Main functions -------------------------------------------------------------------------------- function p.redirect(frame) mArguments = require('Module:Arguments') local args = mArguments.getArgs(frame, {parentOnly=true}) --Get number of redirects local numRedirects = tonumber(frame.args[1]) or 1 -- Create the options table. local options = {} options.selfref = args.selfref return p._redirect(args, numRedirects, options) end function p._redirect(args, numRedirects, options, currentTitle, redirectTitle, targetTitle) -- Validate the input. Don't bother checking currentTitle, redirectTitle or -- targetTitle, as they are only used in testing. checkType('_redirect', 1, args, 'table') checkType('_redirect', 2, numRedirects, 'number', true) numRedirects = numRedirects or 1 checkType('_redirect', 3, options, 'table', true) options = options or {} currentTitle = currentTitle or mw.title.getCurrentTitle() -- Get the table of redirects local redirect = {} for i = 1, numRedirects do -- Return an error if a redirect parameter is missing. if not args[i] then return mHatnote.makeWikitextError( 'missing redirect parameter', 'Template:Redirect#Errors', args.category ) end redirect[i] = args[i] end -- Generate the text. local formattedRedirect = {} for k,v in pairs(redirect) do formattedRedirect[k] = mHatnote.quote(v) end local text = { mHatList.andList(formattedRedirect) .. ' ' .. (#redirect == 1 and 'redirects' or 'redirect') .. ' here.', mHatList._forSee(args, #redirect + 1, {title = redirect[1], extratext = args.text}) } text = table.concat(text, ' ') -- Functionality for adding categories local categoryTable = {} local function addCategory(cat) if cat and cat ~= '' then -- Add by index to avoid duplicates categoryTable[string.format('[[Category:%s]]', cat)] = true end end --Generate tracking categories local mhOptions = {} local redirTitle for k,v in pairs(redirect) do -- We don't need a tracking category if the template invocation has been -- copied directly from the docs, or if we aren't in main- or category-space. if not v:find('^REDIRECT%d*$') and v ~= 'TERM' -- and currentTitle.namespace == 0 or currentTitle.namespace == 14 then redirTitle = redirectTitle or getTitle(v) if not redirTitle or not redirTitle.exists then addCategory('Missing redirects') elseif not redirTitle.isRedirect then if string.find(redirTitle:getContent(), '#invoke:RfD') then addCategory('Articles with redirect hatnotes impacted by RfD') else addCategory('Articles with redirect hatnotes needing review') end else local target = targetTitle or redirTitle.redirectTarget if target and target ~= currentTitle then addCategory('Articles with redirect hatnotes needing review') end end end -- Generate the options to pass to [[Module:Hatnote]]. if currentTitle.namespace == 0 and not mhOptions.selfref and redirTitle and redirTitle.namespace ~= 0 then -- We are on a mainspace page, and the hatnote starts with something -- like "Wikipedia:Foo redirects here", so automatically label it as -- a self-reference. mhOptions.selfref = true else mhOptions.selfref = options.selfref end end --concatenate all the categories local category = '' for k,v in pairs(categoryTable) do category = category .. k end return mHatnote._hatnote(text, mhOptions) .. category end return p 6609c6166f6a1124c96c97915bc7b4182f1874f9 10 141 1007 1006 2023-06-09T18:10:06Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:C]] wikitext text/x-wiki [[:Category:{{PAGENAME:{{{1}}}}}|{{{2|{{PAGENAME:{{{1}}}}}}}}]]<noinclude> {{Documentation}} </noinclude> 2f3365787e653c7567d4355e225be4c6c4295ebd 10 142 1009 1008 2023-06-09T18:10:06Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Yesno-no]] wikitext text/x-wiki {{safesubst:<noinclude />yesno|{{{1}}}|yes={{{yes|yes}}}|no={{{no|no}}}|blank={{{blank|no}}}|¬={{{¬|no}}}|def={{{def|no}}}}}<noinclude> {{Documentation|Template:Yesno/doc}} <!--Categories go in the doc page referenced above; interwikis go in Wikidata.--> </noinclude> 1ad7b7800da1b867ead8f6ff8cef76e6201b3b56 828 143 1011 1010 2023-06-09T18:10:07Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Color_contrast]] Scribunto text/plain -- -- This module implements -- {{Color contrast ratio}} -- {{Greater color contrast ratio}} -- {{ColorToLum}} -- {{RGBColorToLum}} -- local p = {} local HTMLcolor = mw.loadData( 'Module:Color contrast/colors' ) local function sRGB (v) if (v <= 0.03928) then v = v / 12.92 else v = math.pow((v+0.055)/1.055, 2.4) end return v end local function rgbdec2lum(R, G, B) if ( 0 <= R and R < 256 and 0 <= G and G < 256 and 0 <= B and B < 256 ) then return 0.2126 * sRGB(R/255) + 0.7152 * sRGB(G/255) + 0.0722 * sRGB(B/255) else return '' end end local function hsl2lum(h, s, l) if ( 0 <= h and h < 360 and 0 <= s and s <= 1 and 0 <= l and l <= 1 ) then local c = (1 - math.abs(2*l - 1))*s local x = c*(1 - math.abs( math.fmod(h/60, 2) - 1) ) local m = l - c/2 local r, g, b = m, m, m if( 0 <= h and h < 60 ) then r = r + c g = g + x elseif( 60 <= h and h < 120 ) then r = r + x g = g + c elseif( 120 <= h and h < 180 ) then g = g + c b = b + x elseif( 180 <= h and h < 240 ) then g = g + x b = b + c elseif( 240 <= h and h < 300 ) then r = r + x b = b + c elseif( 300 <= h and h < 360 ) then r = r + c b = b + x end return rgbdec2lum(255*r, 255*g, 255*b) else return '' end end local function color2lum(c) if (c == nil) then return '' end -- html '#' entity c = c:gsub("&#35;", "#") -- whitespace c = c:match( '^%s*(.-)[%s;]*$' ) -- unstrip nowiki strip markers c = mw.text.unstripNoWiki(c) -- lowercase c = c:lower() -- first try to look it up local L = HTMLcolor[c] if (L ~= nil) then return L end -- convert from hsl if mw.ustring.match(c,'^hsl%([%s]*[0-9][0-9%.]*[%s]*,[%s]*[0-9][0-9%.]*%%[%s]*,[%s]*[0-9][0-9%.]*%%[%s]*%)$') then local h, s, l = mw.ustring.match(c,'^hsl%([%s]*([0-9][0-9%.]*)[%s]*,[%s]*([0-9][0-9%.]*)%%[%s]*,[%s]*([0-9][0-9%.]*)%%[%s]*%)$') return hsl2lum(tonumber(h), tonumber(s)/100, tonumber(l)/100) end -- convert from rgb if mw.ustring.match(c,'^rgb%([%s]*[0-9][0-9]*[%s]*,[%s]*[0-9][0-9]*[%s]*,[%s]*[0-9][0-9]*[%s]*%)$') then local R, G, B = mw.ustring.match(c,'^rgb%([%s]*([0-9][0-9]*)[%s]*,[%s]*([0-9][0-9]*)[%s]*,[%s]*([0-9][0-9]*)[%s]*%)$') return rgbdec2lum(tonumber(R), tonumber(G), tonumber(B)) end -- convert from rgb percent if mw.ustring.match(c,'^rgb%([%s]*[0-9][0-9%.]*%%[%s]*,[%s]*[0-9][0-9%.]*%%[%s]*,[%s]*[0-9][0-9%.]*%%[%s]*%)$') then local R, G, B = mw.ustring.match(c,'^rgb%([%s]*([0-9][0-9%.]*)%%[%s]*,[%s]*([0-9][0-9%.]*)%%[%s]*,[%s]*([0-9][0-9%.]*)%%[%s]*%)$') return rgbdec2lum(255*tonumber(R)/100, 255*tonumber(G)/100, 255*tonumber(B)/100) end -- remove leading # (if there is one) and whitespace c = mw.ustring.match(c, '^[%s#]*([a-f0-9]*)[%s]*$') -- split into rgb local cs = mw.text.split(c or '', '') if( #cs == 6 ) then local R = 16*tonumber('0x' .. cs[1]) + tonumber('0x' .. cs[2]) local G = 16*tonumber('0x' .. cs[3]) + tonumber('0x' .. cs[4]) local B = 16*tonumber('0x' .. cs[5]) + tonumber('0x' .. cs[6]) return rgbdec2lum(R, G, B) elseif ( #cs == 3 ) then local R = 16*tonumber('0x' .. cs[1]) + tonumber('0x' .. cs[1]) local G = 16*tonumber('0x' .. cs[2]) + tonumber('0x' .. cs[2]) local B = 16*tonumber('0x' .. cs[3]) + tonumber('0x' .. cs[3]) return rgbdec2lum(R, G, B) end -- failure, return blank return '' end -- This exports the function for use in other modules. -- The colour is passed as a string. function p._lum(color) return color2lum(color) end function p._greatercontrast(args) local bias = tonumber(args['bias'] or '0') or 0 local css = (args['css'] and args['css'] ~= '') and true or false local v1 = color2lum(args[1] or '') local c2 = args[2] or '#FFFFFF' local v2 = color2lum(c2) local c3 = args[3] or '#000000' local v3 = color2lum(c3) local ratio1 = -1; local ratio2 = -1; if (type(v1) == 'number' and type(v2) == 'number') then ratio1 = (v2 + 0.05)/(v1 + 0.05) ratio1 = (ratio1 < 1) and 1/ratio1 or ratio1 end if (type(v1) == 'number' and type(v3) == 'number') then ratio2 = (v3 + 0.05)/(v1 + 0.05) ratio2 = (ratio2 < 1) and 1/ratio2 or ratio2 end if css then local c1 = args[1] or '' if mw.ustring.match(c1, '^[A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9]$') or mw.ustring.match(c1, '^[A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9]$') then c1 = '#' .. c1 end if mw.ustring.match(c2, '^[A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9]$') or mw.ustring.match(c2, '^[A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9]$') then c2 = '#' .. c2 end if mw.ustring.match(v3, '^[A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9]$') or mw.ustring.match(v3, '^[A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9][A-Fa-f0-9]$') then c3 = '#' .. c3 end return 'background-color:' .. c1 .. '; color:' .. ((ratio1 > 0) and (ratio2 > 0) and ((ratio1 + bias > ratio2) and c2 or c3) or '') .. ';' end return (ratio1 > 0) and (ratio2 > 0) and ((ratio1 + bias > ratio2) and c2 or c3) or '' end function p._ratio(args) local v1 = color2lum(args[1]) local v2 = color2lum(args[2]) if (type(v1) == 'number' and type(v2) == 'number') then -- v1 should be the brighter of the two. if v2 > v1 then v1, v2 = v2, v1 end return (v1 + 0.05)/(v2 + 0.05) else return args['error'] or '?' end end function p._styleratio(args) local style = (args[1] or ''):lower() local bg, fg = 'white', 'black' local lum_bg, lum_fg = 1, 0 if args[2] then local lum = color2lum(args[2]) if lum ~= '' then bg, lum_bg = args[2], lum end end if args[3] then local lum = color2lum(args[3]) if lum ~= '' then fg, lum_fg = args[3], lum end end local slist = mw.text.split(mw.ustring.gsub(mw.ustring.gsub(style or '', '&#[Xx]23;', '#'), '&#35;', '#'), ';') for k = 1,#slist do local s = slist[k] local k,v = s:match( '^[%s]*([^:]-):([^:]-)[%s;]*$' ) k = k or '' v = v or '' if (k:match('^[%s]*(background)[%s]*$') or k:match('^[%s]*(background%-color)[%s]*$')) then local lum = color2lum(v) if( lum ~= '' ) then bg, lum_bg = v, lum end elseif (k:match('^[%s]*(color)[%s]*$')) then local lum = color2lum(v) if( lum ~= '' ) then bg, lum_fg = v, lum end end end if lum_bg > lum_fg then return (lum_bg + 0.05)/(lum_fg + 0.05) else return (lum_fg + 0.05)/(lum_bg + 0.05) end end --[[ Use {{#invoke:Color contrast|somecolor}} directly or {{#invoke:Color contrast}} from a wrapper template. Parameters: -- |1= — required; A color to check. --]] function p.lum(frame) local color = frame.args[1] or frame:getParent().args[1] return p._lum(color) end function p.ratio(frame) local args = frame.args[1] and frame.args or frame:getParent().args return p._ratio(args) end function p.styleratio(frame) local args = frame.args[1] and frame.args or frame:getParent().args return p._styleratio(args) end function p.greatercontrast(frame) local args = frame.args[1] and frame.args or frame:getParent().args return p._greatercontrast(args) end return p 1e399769117591366a63f62996c9a407077cc711 828 144 1013 1012 2023-06-09T18:10:08Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Color_contrast/colors]] Scribunto text/plain return { aliceblue = 0.92880068253475, antiquewhite = 0.84646951707754, aqua = 0.7874, aquamarine = 0.8078549208338, azure = 0.97265264954166, beige = 0.8988459998705, bisque = 0.80732327372979, black = 0, blanchedalmond = 0.85084439608156, blue = 0.0722, blueviolet = 0.12622014321946, brown = 0.098224287876511, burlywood = 0.51559844533893, cadetblue = 0.29424681085422, chartreuse = 0.76032025902623, chocolate = 0.23898526114557, coral = 0.37017930872924, cornflowerblue = 0.30318641994179, cornsilk = 0.93562110372965, crimson = 0.16042199953026, cyan = 0.7874, darkblue = 0.018640801980939, darkcyan = 0.20329317839046, darkgoldenrod = 0.27264703559993, darkgray = 0.39675523072563, darkgreen = 0.091143429047575, darkgrey = 0.39675523072563, darkkhaki = 0.45747326349994, darkmagenta = 0.07353047651207, darkolivegreen = 0.12651920884889, darkorange = 0.40016167026524, darkorchid = 0.13413142174857, darkred = 0.054889674531132, darksalmon = 0.40541471563381, darkseagreen = 0.43789249325969, darkslateblue = 0.065792846227988, darkslategray = 0.067608151928044, darkslategrey = 0.067608151928044, darkturquoise = 0.4874606277449, darkviolet = 0.10999048339343, deeppink = 0.23866895828276, deepskyblue = 0.44481603395575, dimgray = 0.14126329114027, dimgrey = 0.14126329114027, dodgerblue = 0.27442536991456, firebrick = 0.10724525535015, floralwhite = 0.95922484825004, forestgreen = 0.18920812076002, fuchsia = 0.2848, gainsboro = 0.71569350050648, ghostwhite = 0.94311261886323, gold = 0.69860877428159, goldenrod = 0.41919977809569, gray = 0.2158605001139, green = 0.15438342968146, greenyellow = 0.80609472611453, grey = 0.2158605001139, honeydew = 0.96336535554782, hotpink = 0.34658438169715, indianred = 0.21406134963884, indigo = 0.03107561486337, ivory = 0.99071270600615, khaki = 0.77012343394121, lavender = 0.80318750514521, lavenderblush = 0.90172748631046, lawngreen = 0.73905893124963, lemonchiffon = 0.94038992245622, lightblue = 0.63709141280807, lightcoral = 0.35522120733135, lightcyan = 0.94587293494829, lightgoldenrodyellow = 0.93348351018297, lightgray = 0.65140563741982, lightgreen = 0.69091979956865, lightgrey = 0.65140563741982, lightpink = 0.58566152734898, lightsalmon = 0.4780675225206, lightseagreen = 0.35050145117042, lightskyblue = 0.56195637618331, lightslategray = 0.23830165007287, lightslategrey = 0.23830165007287, lightsteelblue = 0.53983888284666, lightyellow = 0.98161818392882, lime = 0.7152, limegreen = 0.44571042246098, linen = 0.88357340984379, magenta = 0.2848, maroon = 0.045891942324215, mediumaquamarine = 0.49389703310801, mediumblue = 0.044077780212328, mediumorchid = 0.21639251153773, mediumpurple = 0.22905858091648, mediumseagreen = 0.34393112338131, mediumslateblue = 0.20284629471622, mediumspringgreen = 0.70704308194184, mediumturquoise = 0.5133827926448, mediumvioletred = 0.14371899849357, midnightblue = 0.02071786635086, mintcream = 0.97834604947588, mistyrose = 0.82183047859185, moccasin = 0.80083000991567, navajowhite = 0.76519682342785, navy = 0.015585128108224, oldlace = 0.91900633405549, olive = 0.20027537200568, olivedrab = 0.22593150951929, orange = 0.4817026703631, orangered = 0.25516243753416, orchid = 0.31348806761439, palegoldenrod = 0.78792647887614, palegreen = 0.77936759006353, paleturquoise = 0.76436077921714, palevioletred = 0.28754994117889, papayawhip = 0.87797100199835, peachpuff = 0.74905589878251, peru = 0.30113074877936, pink = 0.63271070702466, plum = 0.45734221587969, powderblue = 0.68254586500605, purple = 0.061477070432439, rebeccapurple = 0.07492341159447, red = 0.2126, rosybrown = 0.32319457649407, royalblue = 0.16663210743188, saddlebrown = 0.097922285020521, salmon = 0.36977241527596, sandybrown = 0.46628543696283, seagreen = 0.19734199706275, seashell = 0.92737862206922, sienna = 0.13697631337098, silver = 0.52711512570581, skyblue = 0.55291668518184, slateblue = 0.14784278062136, slategray = 0.20896704076536, slategrey = 0.20896704076536, snow = 0.96533341834849, springgreen = 0.73052306068529, steelblue = 0.20562642207625, tan = 0.48237604163921, teal = 0.16996855778968, thistle = 0.56818401093733, tomato = 0.30638612719415, turquoise = 0.5895536427578, violet = 0.40315452986676, wheat = 0.74909702820482, white = 1, whitesmoke = 0.91309865179342, yellow = 0.9278, yellowgreen = 0.50762957208707, } 6ae47fdb24de4eed5ec26d203faf5341a388987b 828 146 1015 1014 2023-06-09T18:10:09Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Text]] Scribunto text/plain local yesNo = require("Module:Yesno") local Text = { serial = "2022-07-21", suite = "Text" } --[=[ Text utilities ]=] -- local globals local PatternCJK = false local PatternCombined = false local PatternLatin = false local PatternTerminated = false local QuoteLang = false local QuoteType = false local RangesLatin = false local SeekQuote = false local function initLatinData() if not RangesLatin then RangesLatin = { { 7, 687 }, { 7531, 7578 }, { 7680, 7935 }, { 8194, 8250 } } end if not PatternLatin then local range PatternLatin = "^[" for i = 1, #RangesLatin do range = RangesLatin[ i ] PatternLatin = PatternLatin .. mw.ustring.char( range[ 1 ], 45, range[ 2 ] ) end -- for i PatternLatin = PatternLatin .. "]*$" end end local function initQuoteData() -- Create quote definitions if not QuoteLang then QuoteLang = { af = "bd", ar = "la", be = "labd", bg = "bd", ca = "la", cs = "bd", da = "bd", de = "bd", dsb = "bd", et = "bd", el = "lald", en = "ld", es = "la", eu = "la", -- fa = "la", fi = "rd", fr = "laSPC", ga = "ld", he = "ldla", hr = "bd", hsb = "bd", hu = "bd", hy = "labd", id = "rd", is = "bd", it = "ld", ja = "x300C", ka = "bd", ko = "ld", lt = "bd", lv = "bd", nl = "ld", nn = "la", no = "la", pl = "bdla", pt = "lald", ro = "bdla", ru = "labd", sk = "bd", sl = "bd", sq = "la", sr = "bx", sv = "rd", th = "ld", tr = "ld", uk = "la", zh = "ld", ["de-ch"] = "la", ["en-gb"] = "lsld", ["en-us"] = "ld", ["fr-ch"] = "la", ["it-ch"] = "la", ["pt-br"] = "ldla", ["zh-tw"] = "x300C", ["zh-cn"] = "ld" } end if not QuoteType then QuoteType = { bd = { { 8222, 8220 }, { 8218, 8217 } }, bdla = { { 8222, 8220 }, { 171, 187 } }, bx = { { 8222, 8221 }, { 8218, 8217 } }, la = { { 171, 187 }, { 8249, 8250 } }, laSPC = { { 171, 187 }, { 8249, 8250 }, true }, labd = { { 171, 187 }, { 8222, 8220 } }, lald = { { 171, 187 }, { 8220, 8221 } }, ld = { { 8220, 8221 }, { 8216, 8217 } }, ldla = { { 8220, 8221 }, { 171, 187 } }, lsld = { { 8216, 8217 }, { 8220, 8221 } }, rd = { { 8221, 8221 }, { 8217, 8217 } }, x300C = { { 0x300C, 0x300D }, { 0x300E, 0x300F } } } end end -- initQuoteData() local function fiatQuote( apply, alien, advance ) -- Quote text -- Parameter: -- apply -- string, with text -- alien -- string, with language code -- advance -- number, with level 1 or 2 local r = apply and tostring(apply) or "" alien = alien or "en" advance = tonumber(advance) or 0 local suite initQuoteData() local slang = alien:match( "^(%l+)-" ) suite = QuoteLang[alien] or slang and QuoteLang[slang] or QuoteLang["en"] if suite then local quotes = QuoteType[ suite ] if quotes then local space if quotes[ 3 ] then space = "&#160;" else space = "" end quotes = quotes[ advance ] if quotes then r = mw.ustring.format( "%s%s%s%s%s", mw.ustring.char( quotes[ 1 ] ), space, apply, space, mw.ustring.char( quotes[ 2 ] ) ) end else mw.log( "fiatQuote() " .. suite ) end end return r end -- fiatQuote() Text.char = function ( apply, again, accept ) -- Create string from codepoints -- Parameter: -- apply -- table (sequence) with numerical codepoints, or nil -- again -- number of repetitions, or nil -- accept -- true, if no error messages to be appended -- Returns: string local r = "" apply = type(apply) == "table" and apply or {} again = math.floor(tonumber(again) or 1) if again < 1 then return "" end local bad = { } local codes = { } for _, v in ipairs( apply ) do local n = tonumber(v) if not n or (n < 32 and n ~= 9 and n ~= 10) then table.insert(bad, tostring(v)) else table.insert(codes, math.floor(n)) end end if #bad > 0 then if not accept then r = tostring( mw.html.create( "span" ) :addClass( "error" ) :wikitext( "bad codepoints: " .. table.concat( bad, " " )) ) end return r end if #codes > 0 then r = mw.ustring.char( unpack( codes ) ) if again > 1 then r = r:rep(again) end end return r end -- Text.char() local function trimAndFormat(args, fmt) local result = {} if type(args) ~= 'table' then args = {args} end for _, v in ipairs(args) do v = mw.text.trim(tostring(v)) if v ~= "" then table.insert(result,fmt and mw.ustring.format(fmt, v) or v) end end return result end Text.concatParams = function ( args, apply, adapt ) -- Concat list items into one string -- Parameter: -- args -- table (sequence) with numKey=string -- apply -- string (optional); separator (default: "|") -- adapt -- string (optional); format including "%s" -- Returns: string local collect = { } return table.concat(trimAndFormat(args,adapt), apply or "|") end -- Text.concatParams() Text.containsCJK = function ( s ) -- Is any CJK code within? -- Parameter: -- s -- string -- Returns: true, if CJK detected s = s and tostring(s) or "" if not patternCJK then patternCJK = mw.ustring.char( 91, 4352, 45, 4607, 11904, 45, 42191, 43072, 45, 43135, 44032, 45, 55215, 63744, 45, 64255, 65072, 45, 65103, 65381, 45, 65500, 131072, 45, 196607, 93 ) end return mw.ustring.find( s, patternCJK ) ~= nil end -- Text.containsCJK() Text.removeDelimited = function (s, prefix, suffix) -- Remove all text in s delimited by prefix and suffix (inclusive) -- Arguments: -- s = string to process -- prefix = initial delimiter -- suffix = ending delimiter -- Returns: stripped string s = s and tostring(s) or "" prefix = prefix and tostring(prefix) or "" suffix = suffix and tostring(suffix) or "" local prefixLen = mw.ustring.len(prefix) local suffixLen = mw.ustring.len(suffix) if prefixLen == 0 or suffixLen == 0 then return s end local i = s:find(prefix, 1, true) local r = s local j while i do j = r:find(suffix, i + prefixLen) if j then r = r:sub(1, i - 1)..r:sub(j+suffixLen) else r = r:sub(1, i - 1) end i = r:find(prefix, 1, true) end return r end Text.getPlain = function ( adjust ) -- Remove wikisyntax from string, except templates -- Parameter: -- adjust -- string -- Returns: string local r = Text.removeDelimited(adjust,"<!--","-->") r = r:gsub( "(</?%l[^>]*>)", "" ) :gsub( "'''", "" ) :gsub( "''", "" ) :gsub( "&nbsp;", " " ) return r end -- Text.getPlain() Text.isLatinRange = function (s) -- Are characters expected to be latin or symbols within latin texts? -- Arguments: -- s = string to analyze -- Returns: true, if valid for latin only s = s and tostring(s) or "" --- ensure input is always string initLatinData() return mw.ustring.match(s, PatternLatin) ~= nil end -- Text.isLatinRange() Text.isQuote = function ( s ) -- Is this character any quotation mark? -- Parameter: -- s = single character to analyze -- Returns: true, if s is quotation mark s = s and tostring(s) or "" if s == "" then return false end if not SeekQuote then SeekQuote = mw.ustring.char( 34, -- " 39, -- ' 171, -- laquo 187, -- raquo 8216, -- lsquo 8217, -- rsquo 8218, -- sbquo 8220, -- ldquo 8221, -- rdquo 8222, -- bdquo 8249, -- lsaquo 8250, -- rsaquo 0x300C, -- CJK 0x300D, -- CJK 0x300E, -- CJK 0x300F ) -- CJK end return mw.ustring.find( SeekQuote, s, 1, true ) ~= nil end -- Text.isQuote() Text.listToText = function ( args, adapt ) -- Format list items similar to mw.text.listToText() -- Parameter: -- args -- table (sequence) with numKey=string -- adapt -- string (optional); format including "%s" -- Returns: string return mw.text.listToText(trimAndFormat(args, adapt)) end -- Text.listToText() Text.quote = function ( apply, alien, advance ) -- Quote text -- Parameter: -- apply -- string, with text -- alien -- string, with language code, or nil -- advance -- number, with level 1 or 2, or nil -- Returns: quoted string apply = apply and tostring(apply) or "" local mode, slang if type( alien ) == "string" then slang = mw.text.trim( alien ):lower() else slang = mw.title.getCurrentTitle().pageLanguage if not slang then -- TODO FIXME: Introduction expected 2017-04 slang = mw.language.getContentLanguage():getCode() end end if advance == 2 then mode = 2 else mode = 1 end return fiatQuote( mw.text.trim( apply ), slang, mode ) end -- Text.quote() Text.quoteUnquoted = function ( apply, alien, advance ) -- Quote text, if not yet quoted and not empty -- Parameter: -- apply -- string, with text -- alien -- string, with language code, or nil -- advance -- number, with level 1 or 2, or nil -- Returns: string; possibly quoted local r = mw.text.trim( apply and tostring(apply) or "" ) local s = mw.ustring.sub( r, 1, 1 ) if s ~= "" and not Text.isQuote( s, advance ) then s = mw.ustring.sub( r, -1, 1 ) if not Text.isQuote( s ) then r = Text.quote( r, alien, advance ) end end return r end -- Text.quoteUnquoted() Text.removeDiacritics = function ( adjust ) -- Remove all diacritics -- Parameter: -- adjust -- string -- Returns: string; all latin letters should be ASCII -- or basic greek or cyrillic or symbols etc. local cleanup, decomposed if not PatternCombined then PatternCombined = mw.ustring.char( 91, 0x0300, 45, 0x036F, 0x1AB0, 45, 0x1AFF, 0x1DC0, 45, 0x1DFF, 0xFE20, 45, 0xFE2F, 93 ) end decomposed = mw.ustring.toNFD( adjust and tostring(adjust) or "" ) cleanup = mw.ustring.gsub( decomposed, PatternCombined, "" ) return mw.ustring.toNFC( cleanup ) end -- Text.removeDiacritics() Text.sentenceTerminated = function ( analyse ) -- Is string terminated by dot, question or exclamation mark? -- Quotation, link termination and so on granted -- Parameter: -- analyse -- string -- Returns: true, if sentence terminated local r if not PatternTerminated then PatternTerminated = mw.ustring.char( 91, 12290, 65281, 65294, 65311 ) .. "!%.%?…][\"'%]‹›«»‘’“”]*$" end if mw.ustring.find( analyse, PatternTerminated ) then r = true else r = false end return r end -- Text.sentenceTerminated() Text.ucfirstAll = function ( adjust) -- Capitalize all words -- Arguments: -- adjust = string to adjust -- Returns: string with all first letters in upper case adjust = adjust and tostring(adjust) or "" local r = mw.text.decode(adjust,true) local i = 1 local c, j, m m = (r ~= adjust) r = " "..r while i do i = mw.ustring.find( r, "%W%l", i ) if i then j = i + 1 c = mw.ustring.upper( mw.ustring.sub( r, j, j ) ) r = string.format( "%s%s%s", mw.ustring.sub( r, 1, i ), c, mw.ustring.sub( r, i + 2 ) ) i = j end end -- while i r = r:sub( 2 ) if m then r = mw.text.encode(r) end return r end -- Text.ucfirstAll() Text.uprightNonlatin = function ( adjust ) -- Ensure non-italics for non-latin text parts -- One single greek letter might be granted -- Precondition: -- adjust -- string -- Returns: string with non-latin parts enclosed in <span> local r initLatinData() if mw.ustring.match( adjust, PatternLatin ) then -- latin only, horizontal dashes, quotes r = adjust else local c local j = false local k = 1 local m = false local n = mw.ustring.len( adjust ) local span = "%s%s<span dir='auto' style='font-style:normal'>%s</span>" local flat = function ( a ) -- isLatin local range for i = 1, #RangesLatin do range = RangesLatin[ i ] if a >= range[ 1 ] and a <= range[ 2 ] then return true end end -- for i end -- flat() local focus = function ( a ) -- char is not ambivalent local r = ( a > 64 ) if r then r = ( a < 8192 or a > 8212 ) else r = ( a == 38 or a == 60 ) -- '&' '<' end return r end -- focus() local form = function ( a ) return string.format( span, r, mw.ustring.sub( adjust, k, j - 1 ), mw.ustring.sub( adjust, j, a ) ) end -- form() r = "" for i = 1, n do c = mw.ustring.codepoint( adjust, i, i ) if focus( c ) then if flat( c ) then if j then if m then if i == m then -- single greek letter. j = false end m = false end if j then local nx = i - 1 local s = "" for ix = nx, 1, -1 do c = mw.ustring.sub( adjust, ix, ix ) if c == " " or c == "(" then nx = nx - 1 s = c .. s else break -- for ix end end -- for ix r = form( nx ) .. s j = false k = i end end elseif not j then j = i if c >= 880 and c <= 1023 then -- single greek letter? m = i + 1 else m = false end end elseif m then m = m + 1 end end -- for i if j and ( not m or m < n ) then r = form( n ) else r = r .. mw.ustring.sub( adjust, k ) end end return r end -- Text.uprightNonlatin() Text.test = function ( about ) local r if about == "quote" then initQuoteData() r = { } r.QuoteLang = QuoteLang r.QuoteType = QuoteType end return r end -- Text.test() -- Export local p = { } for _, func in ipairs({'containsCJK','isLatinRange','isQuote','sentenceTerminated'}) do p[func] = function (frame) return Text[func]( frame.args[ 1 ] or "" ) and "1" or "" end end for _, func in ipairs({'getPlain','removeDiacritics','ucfirstAll','uprightNonlatin'}) do p[func] = function (frame) return Text[func]( frame.args[ 1 ] or "" ) end end function p.char( frame ) local params = frame:getParent().args local story = params[ 1 ] local codes, lenient, multiple if not story then params = frame.args story = params[ 1 ] end if story then local items = mw.text.split( mw.text.trim(story), "%s+" ) if #items > 0 then local j lenient = (yesNo(params.errors) == false) codes = { } multiple = tonumber( params[ "*" ] ) for _, v in ipairs( items ) do j = tonumber((v:sub( 1, 1 ) == "x" and "0" or "") .. v) table.insert( codes, j or v ) end end end return Text.char( codes, multiple, lenient ) end function p.concatParams( frame ) local args local template = frame.args.template if type( template ) == "string" then template = mw.text.trim( template ) template = ( template == "1" ) end if template then args = frame:getParent().args else args = frame.args end return Text.concatParams( args, frame.args.separator, frame.args.format ) end function p.listToFormat(frame) local lists = {} local pformat = frame.args["format"] local sep = frame.args["sep"] or ";" -- Parameter parsen: Listen for k, v in pairs(frame.args) do local knum = tonumber(k) if knum then lists[knum] = v end end -- Listen splitten local maxListLen = 0 for i = 1, #lists do lists[i] = mw.text.split(lists[i], sep) if #lists[i] > maxListLen then maxListLen = #lists[i] end end -- Ergebnisstring generieren local result = "" local result_line = "" for i = 1, maxListLen do result_line = pformat for j = 1, #lists do result_line = mw.ustring.gsub(result_line, "%%s", lists[j][i], 1) end result = result .. result_line end return result end function p.listToText( frame ) local args local template = frame.args.template if type( template ) == "string" then template = mw.text.trim( template ) template = ( template == "1" ) end if template then args = frame:getParent().args else args = frame.args end return Text.listToText( args, frame.args.format ) end function p.quote( frame ) local slang = frame.args[2] if type( slang ) == "string" then slang = mw.text.trim( slang ) if slang == "" then slang = false end end return Text.quote( frame.args[ 1 ] or "", slang, tonumber( frame.args[3] ) ) end function p.quoteUnquoted( frame ) local slang = frame.args[2] if type( slang ) == "string" then slang = mw.text.trim( slang ) if slang == "" then slang = false end end return Text.quoteUnquoted( frame.args[ 1 ] or "", slang, tonumber( frame.args[3] ) ) end function p.zip(frame) local lists = {} local seps = {} local defaultsep = frame.args["sep"] or "" local innersep = frame.args["isep"] or "" local outersep = frame.args["osep"] or "" -- Parameter parsen for k, v in pairs(frame.args) do local knum = tonumber(k) if knum then lists[knum] = v else if string.sub(k, 1, 3) == "sep" then local sepnum = tonumber(string.sub(k, 4)) if sepnum then seps[sepnum] = v end end end end -- sofern keine expliziten Separatoren angegeben sind, den Standardseparator verwenden for i = 1, math.max(#seps, #lists) do if not seps[i] then seps[i] = defaultsep end end -- Listen splitten local maxListLen = 0 for i = 1, #lists do lists[i] = mw.text.split(lists[i], seps[i]) if #lists[i] > maxListLen then maxListLen = #lists[i] end end local result = "" for i = 1, maxListLen do if i ~= 1 then result = result .. outersep end for j = 1, #lists do if j ~= 1 then result = result .. innersep end result = result .. (lists[j][i] or "") end end return result end function p.failsafe() return Text.serial end p.Text = function () return Text end -- p.Text return p 07f1fc4d39342fd92bdae1c5463bbfede7eeda1a 10 147 1017 1016 2023-06-09T18:10:09Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Redirect]] wikitext text/x-wiki <includeonly>{{#invoke:redirect hatnote|redirect|1}}</includeonly><noinclude> {{documentation}} <!-- Categories go on the /doc subpage, and interwikis go on Wikidata. --> </noinclude> c764f9cf8b31b4d5aa3e131bf254bfc78e5ba39b 10 148 1019 1018 2023-06-09T18:10:10Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Para]] wikitext text/x-wiki <code class="tpl-para" style="word-break:break-word;{{SAFESUBST:<noinclude />#if:{{{plain|}}}|border: none; background-color: inherit;}} {{SAFESUBST:<noinclude />#if:{{{plain|}}}{{{mxt|}}}{{{green|}}}{{{!mxt|}}}{{{red|}}}|color: {{SAFESUBST:<noinclude />#if:{{{mxt|}}}{{{green|}}}|#006400|{{SAFESUBST:<noinclude />#if:{{{!mxt|}}}{{{red|}}}|#8B0000|inherit}}}};}} {{SAFESUBST:<noinclude />#if:{{{style|}}}|{{{style}}}}}">&#124;{{SAFESUBST:<noinclude />#if:{{{1|}}}|{{{1}}}&#61;}}{{{2|}}}</code><noinclude> {{Documentation}} <!--Categories and interwikis go near the bottom of the /doc subpage.--> </noinclude> 06006deea2ed5d552aab61b4332321ab749ae7e8 10 149 1021 1020 2023-06-09T18:10:10Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:No_redirect]] wikitext text/x-wiki {{safesubst:<noinclude/>#if: {{safesubst:<noinclude/>#invoke:Redirect|isRedirect|{{{1}}}}} | <span class="plainlinks">[{{safesubst:<noinclude/>fullurl:{{{1}}}|redirect=no}} {{{2|{{{1}}}}}}]</span> | {{safesubst:<noinclude/>#if:{{{2|}}}|[[:{{safesubst:<noinclude/>FULLPAGENAME:{{{1}}}}}|{{{2}}}]]|[[:{{safesubst:<noinclude/>FULLPAGENAME:{{{1}}}}}]]}} }}<noinclude> {{documentation}} </noinclude> 1760035b1bed54ee08b810208ed3551b812dfe13 10 150 1023 1022 2023-06-09T18:10:11Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Notice]] wikitext text/x-wiki {{Mbox | name = Notice | demospace = {{{demospace|}}} | style = {{#if:{{{style|}}} |{{{style}}} }} | subst = <includeonly>{{subst:substcheck}}</includeonly> | type = notice | image = {{#if:{{{image|}}} |[[File:{{{image}}}|40px|Notice|alt={{{imagealt|}}}]]}} | small = {{{small|}}} | smallimage = {{#if:{{{image|}}} |[[File:{{{image}}}|30px|Notice|alt={{{imagealt|}}}]]}} | imageright = {{#if:{{{imageright|}}} |{{{imageright}}} |{{#if:{{{shortcut|{{{shortcut1|}}}}}} |{{Ombox/shortcut|{{{shortcut|{{{shortcut1|}}}}}}|{{{shortcut2|}}}|{{{shortcut3|}}}|{{{shortcut4|}}}|{{{shortcut5|}}}}}}} }} | textstyle = {{{textstyle|text-align: {{#if:{{{center|}}}|center|{{{align|left}}}}};}}} | text = {{#if:{{{header|{{{heading|{{{title|}}}}}}}}} |<div style="{{{headstyle|text-align: {{#if:{{{center|}}}|center|left}};}}}">'''{{{header|{{{heading|{{{title|}}}}}}}}}'''</div>}}<!-- -->{{{text|{{{content|{{{reason|{{{1}}}}}}}}}}}} }}<noinclude> {{Documentation}} </noinclude> 2cbdbb721ca517005f6827650eef5b0f17537a43 10 151 1025 1024 2023-06-09T18:10:11Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Documentation]] wikitext text/x-wiki {{#invoke:documentation|main|_content={{ {{#invoke:documentation|contentTitle}}}}}}<noinclude> <!-- Add categories to the /doc subpage --> </noinclude> 9e62b964e96c4e3d478edecbfcb3c0338ae8a276 828 152 1027 1026 2023-06-09T18:10:12Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Documentation]] Scribunto text/plain -- This module implements {{documentation}}. -- Get required modules. local getArgs = require('Module:Arguments').getArgs -- Get the config table. local cfg = mw.loadData('Module:Documentation/config') local p = {} -- Often-used functions. local ugsub = mw.ustring.gsub ---------------------------------------------------------------------------- -- Helper functions -- -- These are defined as local functions, but are made available in the p -- table for testing purposes. ---------------------------------------------------------------------------- local function message(cfgKey, valArray, expectType) --[[ -- Gets a message from the cfg table and formats it if appropriate. -- The function raises an error if the value from the cfg table is not -- of the type expectType. The default type for expectType is 'string'. -- If the table valArray is present, strings such as $1, $2 etc. in the -- message are substituted with values from the table keys [1], [2] etc. -- For example, if the message "foo-message" had the value 'Foo $2 bar $1.', -- message('foo-message', {'baz', 'qux'}) would return "Foo qux bar baz." --]] local msg = cfg[cfgKey] expectType = expectType or 'string' if type(msg) ~= expectType then error('message: type error in message cfg.' .. cfgKey .. ' (' .. expectType .. ' expected, got ' .. type(msg) .. ')', 2) end if not valArray then return msg end local function getMessageVal(match) match = tonumber(match) return valArray[match] or error('message: no value found for key $' .. match .. ' in message cfg.' .. cfgKey, 4) end return ugsub(msg, '$([1-9][0-9]*)', getMessageVal) end p.message = message local function makeWikilink(page, display) if display then return mw.ustring.format('[[%s|%s]]', page, display) else return mw.ustring.format('[[%s]]', page) end end p.makeWikilink = makeWikilink local function makeCategoryLink(cat, sort) local catns = mw.site.namespaces[14].name return makeWikilink(catns .. ':' .. cat, sort) end p.makeCategoryLink = makeCategoryLink local function makeUrlLink(url, display) return mw.ustring.format('[%s %s]', url, display) end p.makeUrlLink = makeUrlLink local function makeToolbar(...) local ret = {} local lim = select('#', ...) if lim < 1 then return nil end for i = 1, lim do ret[#ret + 1] = select(i, ...) end -- 'documentation-toolbar' return '<span class="' .. message('toolbar-class') .. '">(' .. table.concat(ret, ' &#124; ') .. ')</span>' end p.makeToolbar = makeToolbar ---------------------------------------------------------------------------- -- Argument processing ---------------------------------------------------------------------------- local function makeInvokeFunc(funcName) return function (frame) local args = getArgs(frame, { valueFunc = function (key, value) if type(value) == 'string' then value = value:match('^%s*(.-)%s*$') -- Remove whitespace. if key == 'heading' or value ~= '' then return value else return nil end else return value end end }) return p[funcName](args) end end ---------------------------------------------------------------------------- -- Entry points ---------------------------------------------------------------------------- function p.nonexistent(frame) if mw.title.getCurrentTitle().subpageText == 'testcases' then return frame:expandTemplate{title = 'module test cases notice'} else return p.main(frame) end end p.main = makeInvokeFunc('_main') function p._main(args) --[[ -- This function defines logic flow for the module. -- @args - table of arguments passed by the user --]] local env = p.getEnvironment(args) local root = mw.html.create() root :wikitext(p._getModuleWikitext(args, env)) :wikitext(p.protectionTemplate(env)) :wikitext(p.sandboxNotice(args, env)) :tag('div') -- 'documentation-container' :addClass(message('container')) :attr('role', 'complementary') :attr('aria-labelledby', args.heading ~= '' and 'documentation-heading' or nil) :attr('aria-label', args.heading == '' and 'Documentation' or nil) :newline() :tag('div') -- 'documentation' :addClass(message('main-div-classes')) :newline() :wikitext(p._startBox(args, env)) :wikitext(p._content(args, env)) :tag('div') -- 'documentation-clear' :addClass(message('clear')) :done() :newline() :done() :wikitext(p._endBox(args, env)) :done() :wikitext(p.addTrackingCategories(env)) -- 'Module:Documentation/styles.css' return mw.getCurrentFrame():extensionTag ( 'templatestyles', '', {src=cfg['templatestyles'] }) .. tostring(root) end ---------------------------------------------------------------------------- -- Environment settings ---------------------------------------------------------------------------- function p.getEnvironment(args) --[[ -- Returns a table with information about the environment, including title -- objects and other namespace- or path-related data. -- @args - table of arguments passed by the user -- -- Title objects include: -- env.title - the page we are making documentation for (usually the current title) -- env.templateTitle - the template (or module, file, etc.) -- env.docTitle - the /doc subpage. -- env.sandboxTitle - the /sandbox subpage. -- env.testcasesTitle - the /testcases subpage. -- -- Data includes: -- env.protectionLevels - the protection levels table of the title object. -- env.subjectSpace - the number of the title's subject namespace. -- env.docSpace - the number of the namespace the title puts its documentation in. -- env.docpageBase - the text of the base page of the /doc, /sandbox and /testcases pages, with namespace. -- env.compareUrl - URL of the Special:ComparePages page comparing the sandbox with the template. -- -- All table lookups are passed through pcall so that errors are caught. If an error occurs, the value -- returned will be nil. --]] local env, envFuncs = {}, {} -- Set up the metatable. If triggered we call the corresponding function in the envFuncs table. The value -- returned by that function is memoized in the env table so that we don't call any of the functions -- more than once. (Nils won't be memoized.) setmetatable(env, { __index = function (t, key) local envFunc = envFuncs[key] if envFunc then local success, val = pcall(envFunc) if success then env[key] = val -- Memoise the value. return val end end return nil end }) function envFuncs.title() -- The title object for the current page, or a test page passed with args.page. local title local titleArg = args.page if titleArg then title = mw.title.new(titleArg) else title = mw.title.getCurrentTitle() end return title end function envFuncs.templateTitle() --[[ -- The template (or module, etc.) title object. -- Messages: -- 'sandbox-subpage' --> 'sandbox' -- 'testcases-subpage' --> 'testcases' --]] local subjectSpace = env.subjectSpace local title = env.title local subpage = title.subpageText if subpage == message('sandbox-subpage') or subpage == message('testcases-subpage') then return mw.title.makeTitle(subjectSpace, title.baseText) else return mw.title.makeTitle(subjectSpace, title.text) end end function envFuncs.docTitle() --[[ -- Title object of the /doc subpage. -- Messages: -- 'doc-subpage' --> 'doc' --]] local title = env.title local docname = args[1] -- User-specified doc page. local docpage if docname then docpage = docname else docpage = env.docpageBase .. '/' .. message('doc-subpage') end return mw.title.new(docpage) end function envFuncs.sandboxTitle() --[[ -- Title object for the /sandbox subpage. -- Messages: -- 'sandbox-subpage' --> 'sandbox' --]] return mw.title.new(env.docpageBase .. '/' .. message('sandbox-subpage')) end function envFuncs.testcasesTitle() --[[ -- Title object for the /testcases subpage. -- Messages: -- 'testcases-subpage' --> 'testcases' --]] return mw.title.new(env.docpageBase .. '/' .. message('testcases-subpage')) end function envFuncs.protectionLevels() -- The protection levels table of the title object. return env.title.protectionLevels end function envFuncs.subjectSpace() -- The subject namespace number. return mw.site.namespaces[env.title.namespace].subject.id end function envFuncs.docSpace() -- The documentation namespace number. For most namespaces this is the -- same as the subject namespace. However, pages in the Article, File, -- MediaWiki or Category namespaces must have their /doc, /sandbox and -- /testcases pages in talk space. local subjectSpace = env.subjectSpace if subjectSpace == 0 or subjectSpace == 6 or subjectSpace == 8 or subjectSpace == 14 then return subjectSpace + 1 else return subjectSpace end end function envFuncs.docpageBase() -- The base page of the /doc, /sandbox, and /testcases subpages. -- For some namespaces this is the talk page, rather than the template page. local templateTitle = env.templateTitle local docSpace = env.docSpace local docSpaceText = mw.site.namespaces[docSpace].name -- Assemble the link. docSpace is never the main namespace, so we can hardcode the colon. return docSpaceText .. ':' .. templateTitle.text end function envFuncs.compareUrl() -- Diff link between the sandbox and the main template using [[Special:ComparePages]]. local templateTitle = env.templateTitle local sandboxTitle = env.sandboxTitle if templateTitle.exists and sandboxTitle.exists then local compareUrl = mw.uri.fullUrl( 'Special:ComparePages', { page1 = templateTitle.prefixedText, page2 = sandboxTitle.prefixedText} ) return tostring(compareUrl) else return nil end end return env end ---------------------------------------------------------------------------- -- Auxiliary templates ---------------------------------------------------------------------------- p.getModuleWikitext = makeInvokeFunc('_getModuleWikitext') function p._getModuleWikitext(args, env) local currentTitle = mw.title.getCurrentTitle() if currentTitle.contentModel ~= 'Scribunto' then return end pcall(require, currentTitle.prefixedText) -- if it fails, we don't care local moduleWikitext = package.loaded["Module:Module wikitext"] if moduleWikitext then return moduleWikitext.main() end end function p.sandboxNotice(args, env) --[=[ -- Generates a sandbox notice for display above sandbox pages. -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- -- Messages: -- 'sandbox-notice-image' --> '[[File:Sandbox.svg|50px|alt=|link=]]' -- 'sandbox-notice-blurb' --> 'This is the $1 for $2.' -- 'sandbox-notice-diff-blurb' --> 'This is the $1 for $2 ($3).' -- 'sandbox-notice-pagetype-template' --> '[[Wikipedia:Template test cases|template sandbox]] page' -- 'sandbox-notice-pagetype-module' --> '[[Wikipedia:Template test cases|module sandbox]] page' -- 'sandbox-notice-pagetype-other' --> 'sandbox page' -- 'sandbox-notice-compare-link-display' --> 'diff' -- 'sandbox-notice-testcases-blurb' --> 'See also the companion subpage for $1.' -- 'sandbox-notice-testcases-link-display' --> 'test cases' -- 'sandbox-category' --> 'Template sandboxes' --]=] local title = env.title local sandboxTitle = env.sandboxTitle local templateTitle = env.templateTitle local subjectSpace = env.subjectSpace if not (subjectSpace and title and sandboxTitle and templateTitle and mw.title.equals(title, sandboxTitle)) then return nil end -- Build the table of arguments to pass to {{ombox}}. We need just two fields, "image" and "text". local omargs = {} omargs.image = message('sandbox-notice-image') -- Get the text. We start with the opening blurb, which is something like -- "This is the template sandbox for [[Template:Foo]] (diff)." local text = '' local pagetype if subjectSpace == 10 then pagetype = message('sandbox-notice-pagetype-template') elseif subjectSpace == 828 then pagetype = message('sandbox-notice-pagetype-module') else pagetype = message('sandbox-notice-pagetype-other') end local templateLink = makeWikilink(templateTitle.prefixedText) local compareUrl = env.compareUrl if compareUrl then local compareDisplay = message('sandbox-notice-compare-link-display') local compareLink = makeUrlLink(compareUrl, compareDisplay) text = text .. message('sandbox-notice-diff-blurb', {pagetype, templateLink, compareLink}) else text = text .. message('sandbox-notice-blurb', {pagetype, templateLink}) end -- Get the test cases page blurb if the page exists. This is something like -- "See also the companion subpage for [[Template:Foo/testcases|test cases]]." local testcasesTitle = env.testcasesTitle if testcasesTitle and testcasesTitle.exists then if testcasesTitle.contentModel == "Scribunto" then local testcasesLinkDisplay = message('sandbox-notice-testcases-link-display') local testcasesRunLinkDisplay = message('sandbox-notice-testcases-run-link-display') local testcasesLink = makeWikilink(testcasesTitle.prefixedText, testcasesLinkDisplay) local testcasesRunLink = makeWikilink(testcasesTitle.talkPageTitle.prefixedText, testcasesRunLinkDisplay) text = text .. '<br />' .. message('sandbox-notice-testcases-run-blurb', {testcasesLink, testcasesRunLink}) else local testcasesLinkDisplay = message('sandbox-notice-testcases-link-display') local testcasesLink = makeWikilink(testcasesTitle.prefixedText, testcasesLinkDisplay) text = text .. '<br />' .. message('sandbox-notice-testcases-blurb', {testcasesLink}) end end -- Add the sandbox to the sandbox category. omargs.text = text .. makeCategoryLink(message('sandbox-category')) -- 'documentation-clear' return '<div class="' .. message('clear') .. '"></div>' .. require('Module:Message box').main('ombox', omargs) end function p.protectionTemplate(env) -- Generates the padlock icon in the top right. -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- Messages: -- 'protection-template' --> 'pp-template' -- 'protection-template-args' --> {docusage = 'yes'} local protectionLevels = env.protectionLevels if not protectionLevels then return nil end local editProt = protectionLevels.edit and protectionLevels.edit[1] local moveProt = protectionLevels.move and protectionLevels.move[1] if editProt then -- The page is edit-protected. return require('Module:Protection banner')._main{ message('protection-reason-edit'), small = true } elseif moveProt and moveProt ~= 'autoconfirmed' then -- The page is move-protected but not edit-protected. Exclude move -- protection with the level "autoconfirmed", as this is equivalent to -- no move protection at all. return require('Module:Protection banner')._main{ action = 'move', small = true } else return nil end end ---------------------------------------------------------------------------- -- Start box ---------------------------------------------------------------------------- p.startBox = makeInvokeFunc('_startBox') function p._startBox(args, env) --[[ -- This function generates the start box. -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- -- The actual work is done by p.makeStartBoxLinksData and p.renderStartBoxLinks which make -- the [view] [edit] [history] [purge] links, and by p.makeStartBoxData and p.renderStartBox -- which generate the box HTML. --]] env = env or p.getEnvironment(args) local links local content = args.content if not content or args[1] then -- No need to include the links if the documentation is on the template page itself. local linksData = p.makeStartBoxLinksData(args, env) if linksData then links = p.renderStartBoxLinks(linksData) end end -- Generate the start box html. local data = p.makeStartBoxData(args, env, links) if data then return p.renderStartBox(data) else -- User specified no heading. return nil end end function p.makeStartBoxLinksData(args, env) --[[ -- Does initial processing of data to make the [view] [edit] [history] [purge] links. -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- -- Messages: -- 'view-link-display' --> 'view' -- 'edit-link-display' --> 'edit' -- 'history-link-display' --> 'history' -- 'purge-link-display' --> 'purge' -- 'module-preload' --> 'Template:Documentation/preload-module-doc' -- 'docpage-preload' --> 'Template:Documentation/preload' -- 'create-link-display' --> 'create' --]] local subjectSpace = env.subjectSpace local title = env.title local docTitle = env.docTitle if not title or not docTitle then return nil end if docTitle.isRedirect then docTitle = docTitle.redirectTarget end local data = {} data.title = title data.docTitle = docTitle -- View, display, edit, and purge links if /doc exists. data.viewLinkDisplay = message('view-link-display') data.editLinkDisplay = message('edit-link-display') data.historyLinkDisplay = message('history-link-display') data.purgeLinkDisplay = message('purge-link-display') -- Create link if /doc doesn't exist. local preload = args.preload if not preload then if subjectSpace == 828 then -- Module namespace preload = message('module-preload') else preload = message('docpage-preload') end end data.preload = preload data.createLinkDisplay = message('create-link-display') return data end function p.renderStartBoxLinks(data) --[[ -- Generates the [view][edit][history][purge] or [create][purge] links from the data table. -- @data - a table of data generated by p.makeStartBoxLinksData --]] local function escapeBrackets(s) -- Escapes square brackets with HTML entities. s = s:gsub('%[', '&#91;') -- Replace square brackets with HTML entities. s = s:gsub('%]', '&#93;') return s end local ret local docTitle = data.docTitle local title = data.title local purgeLink = makeUrlLink(title:fullUrl{action = 'purge'}, data.purgeLinkDisplay) if docTitle.exists then local viewLink = makeWikilink(docTitle.prefixedText, data.viewLinkDisplay) local editLink = makeUrlLink(docTitle:fullUrl{action = 'edit'}, data.editLinkDisplay) local historyLink = makeUrlLink(docTitle:fullUrl{action = 'history'}, data.historyLinkDisplay) ret = '[%s] [%s] [%s] [%s]' ret = escapeBrackets(ret) ret = mw.ustring.format(ret, viewLink, editLink, historyLink, purgeLink) else local createLink = makeUrlLink(docTitle:fullUrl{action = 'edit', preload = data.preload}, data.createLinkDisplay) ret = '[%s] [%s]' ret = escapeBrackets(ret) ret = mw.ustring.format(ret, createLink, purgeLink) end return ret end function p.makeStartBoxData(args, env, links) --[=[ -- Does initial processing of data to pass to the start-box render function, p.renderStartBox. -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- @links - a string containing the [view][edit][history][purge] links - could be nil if there's an error. -- -- Messages: -- 'documentation-icon-wikitext' --> '[[File:Test Template Info-Icon - Version (2).svg|50px|link=|alt=]]' -- 'template-namespace-heading' --> 'Template documentation' -- 'module-namespace-heading' --> 'Module documentation' -- 'file-namespace-heading' --> 'Summary' -- 'other-namespaces-heading' --> 'Documentation' -- 'testcases-create-link-display' --> 'create' --]=] local subjectSpace = env.subjectSpace if not subjectSpace then -- Default to an "other namespaces" namespace, so that we get at least some output -- if an error occurs. subjectSpace = 2 end local data = {} -- Heading local heading = args.heading -- Blank values are not removed. if heading == '' then -- Don't display the start box if the heading arg is defined but blank. return nil end if heading then data.heading = heading elseif subjectSpace == 10 then -- Template namespace data.heading = message('documentation-icon-wikitext') .. ' ' .. message('template-namespace-heading') elseif subjectSpace == 828 then -- Module namespace data.heading = message('documentation-icon-wikitext') .. ' ' .. message('module-namespace-heading') elseif subjectSpace == 6 then -- File namespace data.heading = message('file-namespace-heading') else data.heading = message('other-namespaces-heading') end -- Heading CSS local headingStyle = args['heading-style'] if headingStyle then data.headingStyleText = headingStyle else -- 'documentation-heading' data.headingClass = message('main-div-heading-class') end -- Data for the [view][edit][history][purge] or [create] links. if links then -- 'mw-editsection-like plainlinks' data.linksClass = message('start-box-link-classes') data.links = links end return data end function p.renderStartBox(data) -- Renders the start box html. -- @data - a table of data generated by p.makeStartBoxData. local sbox = mw.html.create('div') sbox -- 'documentation-startbox' :addClass(message('start-box-class')) :newline() :tag('span') :addClass(data.headingClass) :attr('id', 'documentation-heading') :cssText(data.headingStyleText) :wikitext(data.heading) local links = data.links if links then sbox:tag('span') :addClass(data.linksClass) :attr('id', data.linksId) :wikitext(links) end return tostring(sbox) end ---------------------------------------------------------------------------- -- Documentation content ---------------------------------------------------------------------------- p.content = makeInvokeFunc('_content') function p._content(args, env) -- Displays the documentation contents -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment env = env or p.getEnvironment(args) local docTitle = env.docTitle local content = args.content if not content and docTitle and docTitle.exists then content = args._content or mw.getCurrentFrame():expandTemplate{title = docTitle.prefixedText} end -- The line breaks below are necessary so that "=== Headings ===" at the start and end -- of docs are interpreted correctly. return '\n' .. (content or '') .. '\n' end p.contentTitle = makeInvokeFunc('_contentTitle') function p._contentTitle(args, env) env = env or p.getEnvironment(args) local docTitle = env.docTitle if not args.content and docTitle and docTitle.exists then return docTitle.prefixedText else return '' end end ---------------------------------------------------------------------------- -- End box ---------------------------------------------------------------------------- p.endBox = makeInvokeFunc('_endBox') function p._endBox(args, env) --[=[ -- This function generates the end box (also known as the link box). -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- --]=] -- Get environment data. env = env or p.getEnvironment(args) local subjectSpace = env.subjectSpace local docTitle = env.docTitle if not subjectSpace or not docTitle then return nil end -- Check whether we should output the end box at all. Add the end -- box by default if the documentation exists or if we are in the -- user, module or template namespaces. local linkBox = args['link box'] if linkBox == 'off' or not ( docTitle.exists or subjectSpace == 2 or subjectSpace == 828 or subjectSpace == 10 ) then return nil end -- Assemble the link box. local text = '' if linkBox then text = text .. linkBox else text = text .. (p.makeDocPageBlurb(args, env) or '') -- "This documentation is transcluded from [[Foo]]." if subjectSpace == 2 or subjectSpace == 10 or subjectSpace == 828 then -- We are in the user, template or module namespaces. -- Add sandbox and testcases links. -- "Editors can experiment in this template's sandbox and testcases pages." text = text .. (p.makeExperimentBlurb(args, env) or '') .. '<br />' if not args.content and not args[1] then -- "Please add categories to the /doc subpage." -- Don't show this message with inline docs or with an explicitly specified doc page, -- as then it is unclear where to add the categories. text = text .. (p.makeCategoriesBlurb(args, env) or '') end text = text .. ' ' .. (p.makeSubpagesBlurb(args, env) or '') --"Subpages of this template" end end local box = mw.html.create('div') -- 'documentation-metadata' box:attr('role', 'note') :addClass(message('end-box-class')) -- 'plainlinks' :addClass(message('end-box-plainlinks')) :wikitext(text) :done() return '\n' .. tostring(box) end function p.makeDocPageBlurb(args, env) --[=[ -- Makes the blurb "This documentation is transcluded from [[Template:Foo]] (edit, history)". -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- -- Messages: -- 'edit-link-display' --> 'edit' -- 'history-link-display' --> 'history' -- 'transcluded-from-blurb' --> -- 'The above [[Wikipedia:Template documentation|documentation]] -- is [[Help:Transclusion|transcluded]] from $1.' -- 'module-preload' --> 'Template:Documentation/preload-module-doc' -- 'create-link-display' --> 'create' -- 'create-module-doc-blurb' --> -- 'You might want to $1 a documentation page for this [[Wikipedia:Lua|Scribunto module]].' --]=] local docTitle = env.docTitle if not docTitle then return nil end local ret if docTitle.exists then -- /doc exists; link to it. local docLink = makeWikilink(docTitle.prefixedText) local editUrl = docTitle:fullUrl{action = 'edit'} local editDisplay = message('edit-link-display') local editLink = makeUrlLink(editUrl, editDisplay) local historyUrl = docTitle:fullUrl{action = 'history'} local historyDisplay = message('history-link-display') local historyLink = makeUrlLink(historyUrl, historyDisplay) ret = message('transcluded-from-blurb', {docLink}) .. ' ' .. makeToolbar(editLink, historyLink) .. '<br />' elseif env.subjectSpace == 828 then -- /doc does not exist; ask to create it. local createUrl = docTitle:fullUrl{action = 'edit', preload = message('module-preload')} local createDisplay = message('create-link-display') local createLink = makeUrlLink(createUrl, createDisplay) ret = message('create-module-doc-blurb', {createLink}) .. '<br />' end return ret end function p.makeExperimentBlurb(args, env) --[[ -- Renders the text "Editors can experiment in this template's sandbox (edit | diff) and testcases (edit) pages." -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- -- Messages: -- 'sandbox-link-display' --> 'sandbox' -- 'sandbox-edit-link-display' --> 'edit' -- 'compare-link-display' --> 'diff' -- 'module-sandbox-preload' --> 'Template:Documentation/preload-module-sandbox' -- 'template-sandbox-preload' --> 'Template:Documentation/preload-sandbox' -- 'sandbox-create-link-display' --> 'create' -- 'mirror-edit-summary' --> 'Create sandbox version of $1' -- 'mirror-link-display' --> 'mirror' -- 'mirror-link-preload' --> 'Template:Documentation/mirror' -- 'sandbox-link-display' --> 'sandbox' -- 'testcases-link-display' --> 'testcases' -- 'testcases-edit-link-display'--> 'edit' -- 'template-sandbox-preload' --> 'Template:Documentation/preload-sandbox' -- 'testcases-create-link-display' --> 'create' -- 'testcases-link-display' --> 'testcases' -- 'testcases-edit-link-display' --> 'edit' -- 'module-testcases-preload' --> 'Template:Documentation/preload-module-testcases' -- 'template-testcases-preload' --> 'Template:Documentation/preload-testcases' -- 'experiment-blurb-module' --> 'Editors can experiment in this module's $1 and $2 pages.' -- 'experiment-blurb-template' --> 'Editors can experiment in this template's $1 and $2 pages.' --]] local subjectSpace = env.subjectSpace local templateTitle = env.templateTitle local sandboxTitle = env.sandboxTitle local testcasesTitle = env.testcasesTitle local templatePage = templateTitle.prefixedText if not subjectSpace or not templateTitle or not sandboxTitle or not testcasesTitle then return nil end -- Make links. local sandboxLinks, testcasesLinks if sandboxTitle.exists then local sandboxPage = sandboxTitle.prefixedText local sandboxDisplay = message('sandbox-link-display') local sandboxLink = makeWikilink(sandboxPage, sandboxDisplay) local sandboxEditUrl = sandboxTitle:fullUrl{action = 'edit'} local sandboxEditDisplay = message('sandbox-edit-link-display') local sandboxEditLink = makeUrlLink(sandboxEditUrl, sandboxEditDisplay) local compareUrl = env.compareUrl local compareLink if compareUrl then local compareDisplay = message('compare-link-display') compareLink = makeUrlLink(compareUrl, compareDisplay) end sandboxLinks = sandboxLink .. ' ' .. makeToolbar(sandboxEditLink, compareLink) else local sandboxPreload if subjectSpace == 828 then sandboxPreload = message('module-sandbox-preload') else sandboxPreload = message('template-sandbox-preload') end local sandboxCreateUrl = sandboxTitle:fullUrl{action = 'edit', preload = sandboxPreload} local sandboxCreateDisplay = message('sandbox-create-link-display') local sandboxCreateLink = makeUrlLink(sandboxCreateUrl, sandboxCreateDisplay) local mirrorSummary = message('mirror-edit-summary', {makeWikilink(templatePage)}) local mirrorPreload = message('mirror-link-preload') local mirrorUrl = sandboxTitle:fullUrl{action = 'edit', preload = mirrorPreload, summary = mirrorSummary} if subjectSpace == 828 then mirrorUrl = sandboxTitle:fullUrl{action = 'edit', preload = templateTitle.prefixedText, summary = mirrorSummary} end local mirrorDisplay = message('mirror-link-display') local mirrorLink = makeUrlLink(mirrorUrl, mirrorDisplay) sandboxLinks = message('sandbox-link-display') .. ' ' .. makeToolbar(sandboxCreateLink, mirrorLink) end if testcasesTitle.exists then local testcasesPage = testcasesTitle.prefixedText local testcasesDisplay = message('testcases-link-display') local testcasesLink = makeWikilink(testcasesPage, testcasesDisplay) local testcasesEditUrl = testcasesTitle:fullUrl{action = 'edit'} local testcasesEditDisplay = message('testcases-edit-link-display') local testcasesEditLink = makeUrlLink(testcasesEditUrl, testcasesEditDisplay) -- for Modules, add testcases run link if exists if testcasesTitle.contentModel == "Scribunto" and testcasesTitle.talkPageTitle and testcasesTitle.talkPageTitle.exists then local testcasesRunLinkDisplay = message('testcases-run-link-display') local testcasesRunLink = makeWikilink(testcasesTitle.talkPageTitle.prefixedText, testcasesRunLinkDisplay) testcasesLinks = testcasesLink .. ' ' .. makeToolbar(testcasesEditLink, testcasesRunLink) else testcasesLinks = testcasesLink .. ' ' .. makeToolbar(testcasesEditLink) end else local testcasesPreload if subjectSpace == 828 then testcasesPreload = message('module-testcases-preload') else testcasesPreload = message('template-testcases-preload') end local testcasesCreateUrl = testcasesTitle:fullUrl{action = 'edit', preload = testcasesPreload} local testcasesCreateDisplay = message('testcases-create-link-display') local testcasesCreateLink = makeUrlLink(testcasesCreateUrl, testcasesCreateDisplay) testcasesLinks = message('testcases-link-display') .. ' ' .. makeToolbar(testcasesCreateLink) end local messageName if subjectSpace == 828 then messageName = 'experiment-blurb-module' else messageName = 'experiment-blurb-template' end return message(messageName, {sandboxLinks, testcasesLinks}) end function p.makeCategoriesBlurb(args, env) --[[ -- Generates the text "Please add categories to the /doc subpage." -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- Messages: -- 'doc-link-display' --> '/doc' -- 'add-categories-blurb' --> 'Please add categories to the $1 subpage.' --]] local docTitle = env.docTitle if not docTitle then return nil end local docPathLink = makeWikilink(docTitle.prefixedText, message('doc-link-display')) return message('add-categories-blurb', {docPathLink}) end function p.makeSubpagesBlurb(args, env) --[[ -- Generates the "Subpages of this template" link. -- @args - a table of arguments passed by the user -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- Messages: -- 'template-pagetype' --> 'template' -- 'module-pagetype' --> 'module' -- 'default-pagetype' --> 'page' -- 'subpages-link-display' --> 'Subpages of this $1' --]] local subjectSpace = env.subjectSpace local templateTitle = env.templateTitle if not subjectSpace or not templateTitle then return nil end local pagetype if subjectSpace == 10 then pagetype = message('template-pagetype') elseif subjectSpace == 828 then pagetype = message('module-pagetype') else pagetype = message('default-pagetype') end local subpagesLink = makeWikilink( 'Special:PrefixIndex/' .. templateTitle.prefixedText .. '/', message('subpages-link-display', {pagetype}) ) return message('subpages-blurb', {subpagesLink}) end ---------------------------------------------------------------------------- -- Tracking categories ---------------------------------------------------------------------------- function p.addTrackingCategories(env) --[[ -- Check if {{documentation}} is transcluded on a /doc or /testcases page. -- @env - environment table containing title objects, etc., generated with p.getEnvironment -- Messages: -- 'display-strange-usage-category' --> true -- 'doc-subpage' --> 'doc' -- 'testcases-subpage' --> 'testcases' -- 'strange-usage-category' --> 'Wikipedia pages with strange ((documentation)) usage' -- -- /testcases pages in the module namespace are not categorised, as they may have -- {{documentation}} transcluded automatically. --]] local title = env.title local subjectSpace = env.subjectSpace if not title or not subjectSpace then return nil end local subpage = title.subpageText local ret = '' if message('display-strange-usage-category', nil, 'boolean') and ( subpage == message('doc-subpage') or subjectSpace ~= 828 and subpage == message('testcases-subpage') ) then ret = ret .. makeCategoryLink(message('strange-usage-category')) end return ret end return p 2fd7faef98df56f55eede30c4ff07b2431823ee1 828 153 1029 1028 2023-06-09T18:10:12Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Documentation/config]] Scribunto text/plain ---------------------------------------------------------------------------------------------------- -- -- Configuration for Module:Documentation -- -- Here you can set the values of the parameters and messages used in Module:Documentation to -- localise it to your wiki and your language. Unless specified otherwise, values given here -- should be string values. ---------------------------------------------------------------------------------------------------- local cfg = {} -- Do not edit this line. ---------------------------------------------------------------------------------------------------- -- Protection template configuration ---------------------------------------------------------------------------------------------------- -- cfg['protection-reason-edit'] -- The protection reason for edit-protected templates to pass to -- [[Module:Protection banner]]. cfg['protection-reason-edit'] = 'template' --[[ ---------------------------------------------------------------------------------------------------- -- Sandbox notice configuration -- -- On sandbox pages the module can display a template notifying users that the current page is a -- sandbox, and the location of test cases pages, etc. The module decides whether the page is a -- sandbox or not based on the value of cfg['sandbox-subpage']. The following settings configure the -- messages that the notices contains. ---------------------------------------------------------------------------------------------------- --]] -- cfg['sandbox-notice-image'] -- The image displayed in the sandbox notice. cfg['sandbox-notice-image'] = '[[File:Sandbox.svg|50px|alt=|link=]]' --[[ -- cfg['sandbox-notice-pagetype-template'] -- cfg['sandbox-notice-pagetype-module'] -- cfg['sandbox-notice-pagetype-other'] -- The page type of the sandbox page. The message that is displayed depends on the current subject -- namespace. This message is used in either cfg['sandbox-notice-blurb'] or -- cfg['sandbox-notice-diff-blurb']. --]] cfg['sandbox-notice-pagetype-template'] = '[[Wikipedia:Template test cases|template sandbox]] page' cfg['sandbox-notice-pagetype-module'] = '[[Wikipedia:Template test cases|module sandbox]] page' cfg['sandbox-notice-pagetype-other'] = 'sandbox page' --[[ -- cfg['sandbox-notice-blurb'] -- cfg['sandbox-notice-diff-blurb'] -- cfg['sandbox-notice-diff-display'] -- Either cfg['sandbox-notice-blurb'] or cfg['sandbox-notice-diff-blurb'] is the opening sentence -- of the sandbox notice. The latter has a diff link, but the former does not. $1 is the page -- type, which is either cfg['sandbox-notice-pagetype-template'], -- cfg['sandbox-notice-pagetype-module'] or cfg['sandbox-notice-pagetype-other'] depending what -- namespace we are in. $2 is a link to the main template page, and $3 is a diff link between -- the sandbox and the main template. The display value of the diff link is set by -- cfg['sandbox-notice-compare-link-display']. --]] cfg['sandbox-notice-blurb'] = 'This is the $1 for $2.' cfg['sandbox-notice-diff-blurb'] = 'This is the $1 for $2 ($3).' cfg['sandbox-notice-compare-link-display'] = 'diff' --[[ -- cfg['sandbox-notice-testcases-blurb'] -- cfg['sandbox-notice-testcases-link-display'] -- cfg['sandbox-notice-testcases-run-blurb'] -- cfg['sandbox-notice-testcases-run-link-display'] -- cfg['sandbox-notice-testcases-blurb'] is a sentence notifying the user that there is a test cases page -- corresponding to this sandbox that they can edit. $1 is a link to the test cases page. -- cfg['sandbox-notice-testcases-link-display'] is the display value for that link. -- cfg['sandbox-notice-testcases-run-blurb'] is a sentence notifying the user that there is a test cases page -- corresponding to this sandbox that they can edit, along with a link to run it. $1 is a link to the test -- cases page, and $2 is a link to the page to run it. -- cfg['sandbox-notice-testcases-run-link-display'] is the display value for the link to run the test -- cases. --]] cfg['sandbox-notice-testcases-blurb'] = 'See also the companion subpage for $1.' cfg['sandbox-notice-testcases-link-display'] = 'test cases' cfg['sandbox-notice-testcases-run-blurb'] = 'See also the companion subpage for $1 ($2).' cfg['sandbox-notice-testcases-run-link-display'] = 'run' -- cfg['sandbox-category'] -- A category to add to all template sandboxes. cfg['sandbox-category'] = 'Template sandboxes' ---------------------------------------------------------------------------------------------------- -- Start box configuration ---------------------------------------------------------------------------------------------------- -- cfg['documentation-icon-wikitext'] -- The wikitext for the icon shown at the top of the template. cfg['documentation-icon-wikitext'] = '[[File:Test Template Info-Icon - Version (2).svg|50px|link=|alt=]]' -- cfg['template-namespace-heading'] -- The heading shown in the template namespace. cfg['template-namespace-heading'] = 'Template documentation' -- cfg['module-namespace-heading'] -- The heading shown in the module namespace. cfg['module-namespace-heading'] = 'Module documentation' -- cfg['file-namespace-heading'] -- The heading shown in the file namespace. cfg['file-namespace-heading'] = 'Summary' -- cfg['other-namespaces-heading'] -- The heading shown in other namespaces. cfg['other-namespaces-heading'] = 'Documentation' -- cfg['view-link-display'] -- The text to display for "view" links. cfg['view-link-display'] = 'view' -- cfg['edit-link-display'] -- The text to display for "edit" links. cfg['edit-link-display'] = 'edit' -- cfg['history-link-display'] -- The text to display for "history" links. cfg['history-link-display'] = 'history' -- cfg['purge-link-display'] -- The text to display for "purge" links. cfg['purge-link-display'] = 'purge' -- cfg['create-link-display'] -- The text to display for "create" links. cfg['create-link-display'] = 'create' ---------------------------------------------------------------------------------------------------- -- Link box (end box) configuration ---------------------------------------------------------------------------------------------------- -- cfg['transcluded-from-blurb'] -- Notice displayed when the docs are transcluded from another page. $1 is a wikilink to that page. cfg['transcluded-from-blurb'] = 'The above [[Wikipedia:Template documentation|documentation]] is [[Help:Transclusion|transcluded]] from $1.' --[[ -- cfg['create-module-doc-blurb'] -- Notice displayed in the module namespace when the documentation subpage does not exist. -- $1 is a link to create the documentation page with the preload cfg['module-preload'] and the -- display cfg['create-link-display']. --]] cfg['create-module-doc-blurb'] = 'You might want to $1 a documentation page for this [[Wikipedia:Lua|Scribunto module]].' ---------------------------------------------------------------------------------------------------- -- Experiment blurb configuration ---------------------------------------------------------------------------------------------------- --[[ -- cfg['experiment-blurb-template'] -- cfg['experiment-blurb-module'] -- The experiment blurb is the text inviting editors to experiment in sandbox and test cases pages. -- It is only shown in the template and module namespaces. With the default English settings, it -- might look like this: -- -- Editors can experiment in this template's sandbox (edit | diff) and testcases (edit) pages. -- -- In this example, "sandbox", "edit", "diff", "testcases", and "edit" would all be links. -- -- There are two versions, cfg['experiment-blurb-template'] and cfg['experiment-blurb-module'], depending -- on what namespace we are in. -- -- Parameters: -- -- $1 is a link to the sandbox page. If the sandbox exists, it is in the following format: -- -- cfg['sandbox-link-display'] (cfg['sandbox-edit-link-display'] | cfg['compare-link-display']) -- -- If the sandbox doesn't exist, it is in the format: -- -- cfg['sandbox-link-display'] (cfg['sandbox-create-link-display'] | cfg['mirror-link-display']) -- -- The link for cfg['sandbox-create-link-display'] link preloads the page with cfg['template-sandbox-preload'] -- or cfg['module-sandbox-preload'], depending on the current namespace. The link for cfg['mirror-link-display'] -- loads a default edit summary of cfg['mirror-edit-summary']. -- -- $2 is a link to the test cases page. If the test cases page exists, it is in the following format: -- -- cfg['testcases-link-display'] (cfg['testcases-edit-link-display'] | cfg['testcases-run-link-display']) -- -- If the test cases page doesn't exist, it is in the format: -- -- cfg['testcases-link-display'] (cfg['testcases-create-link-display']) -- -- If the test cases page doesn't exist, the link for cfg['testcases-create-link-display'] preloads the -- page with cfg['template-testcases-preload'] or cfg['module-testcases-preload'], depending on the current -- namespace. --]] cfg['experiment-blurb-template'] = "Editors can experiment in this template's $1 and $2 pages." cfg['experiment-blurb-module'] = "Editors can experiment in this module's $1 and $2 pages." ---------------------------------------------------------------------------------------------------- -- Sandbox link configuration ---------------------------------------------------------------------------------------------------- -- cfg['sandbox-subpage'] -- The name of the template subpage typically used for sandboxes. cfg['sandbox-subpage'] = 'sandbox' -- cfg['template-sandbox-preload'] -- Preload file for template sandbox pages. cfg['template-sandbox-preload'] = 'Template:Documentation/preload-sandbox' -- cfg['module-sandbox-preload'] -- Preload file for Lua module sandbox pages. cfg['module-sandbox-preload'] = 'Template:Documentation/preload-module-sandbox' -- cfg['sandbox-link-display'] -- The text to display for "sandbox" links. cfg['sandbox-link-display'] = 'sandbox' -- cfg['sandbox-edit-link-display'] -- The text to display for sandbox "edit" links. cfg['sandbox-edit-link-display'] = 'edit' -- cfg['sandbox-create-link-display'] -- The text to display for sandbox "create" links. cfg['sandbox-create-link-display'] = 'create' -- cfg['compare-link-display'] -- The text to display for "compare" links. cfg['compare-link-display'] = 'diff' -- cfg['mirror-edit-summary'] -- The default edit summary to use when a user clicks the "mirror" link. $1 is a wikilink to the -- template page. cfg['mirror-edit-summary'] = 'Create sandbox version of $1' -- cfg['mirror-link-display'] -- The text to display for "mirror" links. cfg['mirror-link-display'] = 'mirror' -- cfg['mirror-link-preload'] -- The page to preload when a user clicks the "mirror" link. cfg['mirror-link-preload'] = 'Template:Documentation/mirror' ---------------------------------------------------------------------------------------------------- -- Test cases link configuration ---------------------------------------------------------------------------------------------------- -- cfg['testcases-subpage'] -- The name of the template subpage typically used for test cases. cfg['testcases-subpage'] = 'testcases' -- cfg['template-testcases-preload'] -- Preload file for template test cases pages. cfg['template-testcases-preload'] = 'Template:Documentation/preload-testcases' -- cfg['module-testcases-preload'] -- Preload file for Lua module test cases pages. cfg['module-testcases-preload'] = 'Template:Documentation/preload-module-testcases' -- cfg['testcases-link-display'] -- The text to display for "testcases" links. cfg['testcases-link-display'] = 'testcases' -- cfg['testcases-edit-link-display'] -- The text to display for test cases "edit" links. cfg['testcases-edit-link-display'] = 'edit' -- cfg['testcases-run-link-display'] -- The text to display for test cases "run" links. cfg['testcases-run-link-display'] = 'run' -- cfg['testcases-create-link-display'] -- The text to display for test cases "create" links. cfg['testcases-create-link-display'] = 'create' ---------------------------------------------------------------------------------------------------- -- Add categories blurb configuration ---------------------------------------------------------------------------------------------------- --[[ -- cfg['add-categories-blurb'] -- Text to direct users to add categories to the /doc subpage. Not used if the "content" or -- "docname fed" arguments are set, as then it is not clear where to add the categories. $1 is a -- link to the /doc subpage with a display value of cfg['doc-link-display']. --]] cfg['add-categories-blurb'] = 'Add categories to the $1 subpage.' -- cfg['doc-link-display'] -- The text to display when linking to the /doc subpage. cfg['doc-link-display'] = '/doc' ---------------------------------------------------------------------------------------------------- -- Subpages link configuration ---------------------------------------------------------------------------------------------------- --[[ -- cfg['subpages-blurb'] -- The "Subpages of this template" blurb. $1 is a link to the main template's subpages with a -- display value of cfg['subpages-link-display']. In the English version this blurb is simply -- the link followed by a period, and the link display provides the actual text. --]] cfg['subpages-blurb'] = '$1.' --[[ -- cfg['subpages-link-display'] -- The text to display for the "subpages of this page" link. $1 is cfg['template-pagetype'], -- cfg['module-pagetype'] or cfg['default-pagetype'], depending on whether the current page is in -- the template namespace, the module namespace, or another namespace. --]] cfg['subpages-link-display'] = 'Subpages of this $1' -- cfg['template-pagetype'] -- The pagetype to display for template pages. cfg['template-pagetype'] = 'template' -- cfg['module-pagetype'] -- The pagetype to display for Lua module pages. cfg['module-pagetype'] = 'module' -- cfg['default-pagetype'] -- The pagetype to display for pages other than templates or Lua modules. cfg['default-pagetype'] = 'page' ---------------------------------------------------------------------------------------------------- -- Doc link configuration ---------------------------------------------------------------------------------------------------- -- cfg['doc-subpage'] -- The name of the subpage typically used for documentation pages. cfg['doc-subpage'] = 'doc' -- cfg['docpage-preload'] -- Preload file for template documentation pages in all namespaces. cfg['docpage-preload'] = 'Template:Documentation/preload' -- cfg['module-preload'] -- Preload file for Lua module documentation pages. cfg['module-preload'] = 'Template:Documentation/preload-module-doc' ---------------------------------------------------------------------------------------------------- -- HTML and CSS configuration ---------------------------------------------------------------------------------------------------- -- cfg['templatestyles'] -- The name of the TemplateStyles page where CSS is kept. -- Sandbox CSS will be at Module:Documentation/sandbox/styles.css when needed. cfg['templatestyles'] = 'Module:Documentation/styles.css' -- cfg['container'] -- Class which can be used to set flex or grid CSS on the -- two child divs documentation and documentation-metadata cfg['container'] = 'documentation-container' -- cfg['main-div-classes'] -- Classes added to the main HTML "div" tag. cfg['main-div-classes'] = 'documentation' -- cfg['main-div-heading-class'] -- Class for the main heading for templates and modules and assoc. talk spaces cfg['main-div-heading-class'] = 'documentation-heading' -- cfg['start-box-class'] -- Class for the start box cfg['start-box-class'] = 'documentation-startbox' -- cfg['start-box-link-classes'] -- Classes used for the [view][edit][history] or [create] links in the start box. -- mw-editsection-like is per [[Wikipedia:Village pump (technical)/Archive 117]] cfg['start-box-link-classes'] = 'mw-editsection-like plainlinks' -- cfg['end-box-class'] -- Class for the end box. cfg['end-box-class'] = 'documentation-metadata' -- cfg['end-box-plainlinks'] -- Plainlinks cfg['end-box-plainlinks'] = 'plainlinks' -- cfg['toolbar-class'] -- Class added for toolbar links. cfg['toolbar-class'] = 'documentation-toolbar' -- cfg['clear'] -- Just used to clear things. cfg['clear'] = 'documentation-clear' ---------------------------------------------------------------------------------------------------- -- Tracking category configuration ---------------------------------------------------------------------------------------------------- -- cfg['display-strange-usage-category'] -- Set to true to enable output of cfg['strange-usage-category'] if the module is used on a /doc subpage -- or a /testcases subpage. This should be a boolean value (either true or false). cfg['display-strange-usage-category'] = true -- cfg['strange-usage-category'] -- Category to output if cfg['display-strange-usage-category'] is set to true and the module is used on a -- /doc subpage or a /testcases subpage. cfg['strange-usage-category'] = 'Wikipedia pages with strange ((documentation)) usage' --[[ ---------------------------------------------------------------------------------------------------- -- End configuration -- -- Don't edit anything below this line. ---------------------------------------------------------------------------------------------------- --]] return cfg 71b68ed73088f1a59d61acf06bbee9fde6677f03 828 154 1031 1030 2023-06-09T18:10:12Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Documentation/styles.css]] text text/plain /* {{pp|small=yes}} */ .documentation, .documentation-metadata { border: 1px solid #a2a9b1; background-color: #ecfcf4; clear: both; } .documentation { margin: 1em 0 0 0; padding: 1em; } .documentation-metadata { margin: 0.2em 0; /* same margin left-right as .documentation */ font-style: italic; padding: 0.4em 1em; /* same padding left-right as .documentation */ } .documentation-startbox { padding-bottom: 3px; border-bottom: 1px solid #aaa; margin-bottom: 1ex; } .documentation-heading { font-weight: bold; font-size: 125%; } .documentation-clear { /* Don't want things to stick out where they shouldn't. */ clear: both; } .documentation-toolbar { font-style: normal; font-size: 85%; } ce0e629c92e3d825ab9fd927fe6cc37d9117b6cb 10 155 1033 1032 2023-06-09T18:10:14Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Sandbox_other]] wikitext text/x-wiki {{#if:{{#ifeq:{{#invoke:String|sublength|s={{SUBPAGENAME}}|i=0|len=7}}|sandbox|1}}{{#ifeq:{{SUBPAGENAME}}|doc|1}}{{#invoke:String|match|{{PAGENAME}}|/sandbox/styles.css$|plain=false|nomatch=}}|{{{1|}}}|{{{2|}}}}}<!-- --><noinclude>{{documentation}}</noinclude> 91e4ae891d6b791615152c1fbc971414961ba872 10 156 1035 1034 2023-06-09T18:10:14Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Documentation_subpage]] wikitext text/x-wiki <includeonly><!-- -->{{#ifeq:{{lc:{{SUBPAGENAME}}}} |{{{override|doc}}} | <!--(this template has been transcluded on a /doc or /{{{override}}} page)--> </includeonly><!-- -->{{#ifeq:{{{doc-notice|show}}} |show | {{Mbox | type = notice | style = margin-bottom:1.0em; | image = [[File:Edit-copy green.svg|40px|alt=|link=]] | text = {{strong|This is a [[Wikipedia:Template documentation|documentation]] [[Wikipedia:Subpages|subpage]]}} for {{terminate sentence|{{{1|[[:{{SUBJECTSPACE}}:{{BASEPAGENAME}}]]}}}}}<br />It may contain usage information, [[Wikipedia:Categorization|categories]] and other content that is not part of the original {{#if:{{{text2|}}} |{{{text2}}} |{{#if:{{{text1|}}} |{{{text1}}} |{{#ifeq:{{SUBJECTSPACE}} |{{ns:User}} |{{lc:{{SUBJECTSPACE}}}} template page |{{#if:{{SUBJECTSPACE}} |{{lc:{{SUBJECTSPACE}}}} page|article}}}}}}}}. }} }}<!-- -->{{DEFAULTSORT:{{{defaultsort|{{PAGENAME}}}}}}}<!-- -->{{#if:{{{inhibit|}}} |<!--(don't categorize)--> | <includeonly><!-- -->{{#ifexist:{{NAMESPACE}}:{{BASEPAGENAME}} | [[Category:{{#switch:{{SUBJECTSPACE}} |Template=Template |Module=Module |User=User |#default=Wikipedia}} documentation pages]] | [[Category:Documentation subpages without corresponding pages]] }}<!-- --></includeonly> }}<!-- (completing initial #ifeq: at start of template:) --><includeonly> | <!--(this template has not been transcluded on a /doc or /{{{override}}} page)--> }}<!-- --></includeonly><noinclude>{{Documentation}}</noinclude> 41ca90af0945442788a2dbd08c8c54a61a23c057 10 157 1037 1036 2023-06-09T18:10:15Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Tnull]] wikitext text/x-wiki #REDIRECT [[Template:Template link null]] {{Redirect category shell| {{R from move}} }} b22d666a4b16808dc3becc2403546fb9ab5dea7e 10 158 1039 1038 2023-06-09T18:10:15Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Template_link_null]] wikitext text/x-wiki <includeonly>{{#Invoke:Template link general|main|nolink=yes|code=yes}}</includeonly><noinclude> {{Documentation|1=Template:Tlg/doc |content = {{tlg/doc|tnull}} }} <!-- Add categories to the /doc subpage, not here! --> </noinclude> 2167c503e001d24d870ef82a9de0aaa9832404cb 10 162 1041 1040 2023-06-09T18:10:16Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Currentyear]] wikitext text/x-wiki {{<includeonly>safesubst:</includeonly>CURRENTYEAR}}<noinclude> {{Documentation|link box=off|content=This template exists for people who use incorrect capitalization of the [[Help:Magic words|magic word]] <nowiki>{{CURRENTYEAR}}</nowiki>. The magic word should be used in preference to this template. ==See also== *{{Tl|Year needed}}}} [[Category:Wikipedia magic word templates]] </noinclude> 63d64ad31b7a20fa132866ee4ae1b8111e469832 828 163 1043 1042 2023-06-09T18:10:17Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Shortcut]] Scribunto text/plain -- This module implements {{shortcut}}. -- Set constants local CONFIG_MODULE = 'Module:Shortcut/config' -- Load required modules local checkType = require('libraryUtil').checkType local yesno = require('Module:Yesno') local p = {} local function message(msg, ...) return mw.message.newRawMessage(msg, ...):plain() end local function makeCategoryLink(cat) return string.format('[[%s:%s]]', mw.site.namespaces[14].name, cat) end function p._main(shortcuts, options, frame, cfg) checkType('_main', 1, shortcuts, 'table') checkType('_main', 2, options, 'table', true) options = options or {} frame = frame or mw.getCurrentFrame() cfg = cfg or mw.loadData(CONFIG_MODULE) local templateMode = options.template and yesno(options.template) local redirectMode = options.redirect and yesno(options.redirect) local isCategorized = not options.category or yesno(options.category) ~= false -- Validate shortcuts for i, shortcut in ipairs(shortcuts) do if type(shortcut) ~= 'string' or #shortcut < 1 then error(message(cfg['invalid-shortcut-error'], i), 2) end end -- Make the list items. These are the shortcuts plus any extra lines such -- as options.msg. local listItems = {} for i, shortcut in ipairs(shortcuts) do local templatePath, prefix if templateMode then -- Namespace detection local titleObj = mw.title.new(shortcut, 10) if titleObj.namespace == 10 then templatePath = titleObj.fullText else templatePath = shortcut end prefix = options['pre' .. i] or options.pre or '' end if options.target and yesno(options.target) then listItems[i] = templateMode and string.format("&#123;&#123;%s[[%s|%s]]&#125;&#125;", prefix, templatePath, shortcut) or string.format("[[%s]]", shortcut) else listItems[i] = frame:expandTemplate{ title = 'No redirect', args = templateMode and {templatePath, shortcut} or {shortcut, shortcut} } if templateMode then listItems[i] = string.format("&#123;&#123;%s%s&#125;&#125;", prefix, listItems[i]) end end end table.insert(listItems, options.msg) -- Return an error if we have nothing to display if #listItems < 1 then local msg = cfg['no-content-error'] msg = string.format('<strong class="error">%s</strong>', msg) if isCategorized and cfg['no-content-error-category'] then msg = msg .. makeCategoryLink(cfg['no-content-error-category']) end return msg end local root = mw.html.create() root:wikitext(frame:extensionTag{ name = 'templatestyles', args = { src = 'Module:Shortcut/styles.css'} }) -- Anchors local anchorDiv = root :tag('div') :addClass('module-shortcutanchordiv') for i, shortcut in ipairs(shortcuts) do local anchor = mw.uri.anchorEncode(shortcut) anchorDiv:tag('span'):attr('id', anchor) end -- Shortcut heading local shortcutHeading do local nShortcuts = #shortcuts if nShortcuts > 0 then local headingMsg = options['shortcut-heading'] or redirectMode and cfg['redirect-heading'] or cfg['shortcut-heading'] shortcutHeading = message(headingMsg, nShortcuts) shortcutHeading = frame:preprocess(shortcutHeading) end end -- Shortcut box local shortcutList = root :tag('div') :addClass('module-shortcutboxplain noprint') :attr('role', 'note') if options.float and options.float:lower() == 'left' then shortcutList:addClass('module-shortcutboxleft') end if options.clear and options.clear ~= '' then shortcutList:css('clear', options.clear) end if shortcutHeading then shortcutList :tag('div') :addClass('module-shortcutlist') :wikitext(shortcutHeading) end local ubl = require('Module:List').unbulleted(listItems) shortcutList:wikitext(ubl) return tostring(root) end function p.main(frame) local args = require('Module:Arguments').getArgs(frame) -- Separate shortcuts from options local shortcuts, options = {}, {} for k, v in pairs(args) do if type(k) == 'number' then shortcuts[k] = v else options[k] = v end end -- Compress the shortcut array, which may contain nils. local function compressArray(t) local nums, ret = {}, {} for k in pairs(t) do nums[#nums + 1] = k end table.sort(nums) for i, num in ipairs(nums) do ret[i] = t[num] end return ret end shortcuts = compressArray(shortcuts) return p._main(shortcuts, options, frame) end return p 03fd46a265e549852a9ed3d3a9249b247d84cb4f 828 164 1045 1044 2023-06-09T18:10:18Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Shortcut/config]] Scribunto text/plain -- This module holds configuration data for [[Module:Shortcut]]. return { -- The heading at the top of the shortcut box. It accepts the following parameter: -- $1 - the total number of shortcuts. (required) ['shortcut-heading'] = '[[Wikipedia:Shortcut|{{PLURAL:$1|Shortcut|Shortcuts}}]]', -- The heading when |redirect=yes is given. It accepts the following parameter: -- $1 - the total number of shortcuts. (required) ['redirect-heading'] = '[[Wikipedia:Redirect|{{PLURAL:$1|Redirect|Redirects}}]]', -- The error message to display when a shortcut is invalid (is not a string, or -- is the blank string). It accepts the following parameter: -- $1 - the number of the shortcut in the argument list. (required) ['invalid-shortcut-error'] = 'shortcut #$1 was invalid (shortcuts must be ' .. 'strings of at least one character in length)', -- The error message to display when no shortcuts or other displayable content -- were specified. (required) ['no-content-error'] = 'Error: no shortcuts were specified and the ' .. mw.text.nowiki('|msg=') .. ' parameter was not set.', -- A category to add when the no-content-error message is displayed. (optional) ['no-content-error-category'] = 'Shortcut templates with missing parameters', } f9d1d94844d5953753eb19e30a3ce389eda3d319 10 165 1047 1046 2023-06-09T18:10:19Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Icon_link]] wikitext text/x-wiki {{#invoke:icon|link}}<noinclude> {{Documentation}} </noinclude> 90afb0510293127899a02e9a7e0c277c862ce4eb 10 167 1049 1048 2023-06-09T18:10:19Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Currentmonth]] wikitext text/x-wiki {{<includeonly>safesubst:</includeonly>CURRENTMONTHNAME}}<noinclude> {{Documentation|link box=off|content=This template exists for people who use incorrect capitalization of the [[Help:Magic words|magic word]] <nowiki>{{CURRENTMONTHNAME}}</nowiki>. The magic word should be used in preference to this template. {{Calendar, clock, date and time computing templates}} }} [[Category:Wikipedia magic word templates]] </noinclude> 379b3b08a9f9924b377e2d05e140660f8d6bb195 10 168 1051 1050 2023-06-09T18:10:20Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:High-use]] wikitext text/x-wiki {{#invoke:High-use|main|1={{{1|}}}|2={{{2|}}}|info={{{info|}}}|demo={{{demo|}}}|form={{{form|}}}|expiry={{{expiry|}}}|system={{{system|}}}}}<noinclude> {{Documentation}} <!-- Add categories to the /doc subpage; interwiki links go to Wikidata, thank you! --> </noinclude> a3322d1bd47ac03df14fa2090855cff4fede9bc7 10 170 1053 1052 2023-06-09T18:10:20Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:TemplateData_header]] wikitext text/x-wiki <div class="templatedata-header">{{#if:{{{noheader|}}}|<!-- noheader: -->{{Template parameter usage|based=y}}|<!-- +header: -->This is the {{#if:{{{nolink|}}}|<!-- +header, nolink TD -->TemplateData|<!-- +header, +link [[TD]]; DEFAULT: -->[[Wikipedia:TemplateData|TemplateData]]}}<!-- e.o. #if:nolink; DEFAULT: --> for this template used by [[mw:Extension:TemplateWizard|TemplateWizard]], [[Wikipedia:VisualEditor|VisualEditor]] and other tools. {{Template parameter usage|based=y}}<!-- e.o. #if:noheader -->}} '''TemplateData for {{{1|{{BASEPAGENAME}}}}}''' </div><includeonly><!-- check parameters -->{{#invoke:Check for unknown parameters|check |unknown={{template other|1=[[Category:Pages using TemplateData header with unknown parameters|_VALUE_]]}} |template=Template:TemplateData header |1 |nolink |noheader |preview=<div class="error" style="font-weight:normal">Unknown parameter '_VALUE_' in [[Template:TemplateData header]].</div> }}<!-- -->{{template other|{{sandbox other|| [[Category:Templates using TemplateData]] }}}}</includeonly><!-- --><noinclude>{{Documentation}}</noinclude> ddfbb4ae793846b96d4c06330417fa6ed4da2adc 10 171 1055 1054 2023-06-09T18:10:21Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Template_parameter_usage]] wikitext text/x-wiki {{#switch:{{{label|}}} |=[https://bambots.brucemyers.com/TemplateParam.php?wiki=enwiki&template={{Urlencode:{{#if:{{{1|}}}|{{ROOTPAGENAME:{{{1|}}}}}|{{ROOTPAGENAME}}}}}} {{#ifeq:{{yesno-no|{{{lc}}}}}|no|C|c}}lick here] to see a monthly parameter usage report for {{#if:{{{1|}}}|[[Template:{{ROOTPAGENAME:{{{1|}}}}}]]|this template}}{{#ifeq:{{yesno-no|{{{based}}}}}|yes|&#32;based on {{#if:{{{1|}}}|its|this}} TemplateData}}. |None|none=[https://bambots.brucemyers.com/TemplateParam.php?wiki=enwiki&template={{Urlencode:{{#if:{{{1|}}}|{{ROOTPAGENAME:{{{1|}}}}}|{{ROOTPAGENAME}}}}}} {{#ifeq:{{yesno-no|{{{lc}}}}}|no|P|p}}arameter usage report]{{#ifeq:{{yesno-no|{{{based}}}}}|yes|&#32;based on {{#if:{{{1|}}}|its|this}} TemplateData}} |for|For=[https://bambots.brucemyers.com/TemplateParam.php?wiki=enwiki&template={{Urlencode:{{#if:{{{1|}}}|{{ROOTPAGENAME:{{{1|}}}}}|{{ROOTPAGENAME}}}}}} {{#ifeq:{{yesno-no|{{{lc}}}}}|no|P|p}}arameter usage report] for {{#if:{{{1|}}}|[[Template:{{ROOTPAGENAME:{{{1|}}}}}]]|[[Template:{{ROOTPAGENAME}}]]}}{{#ifeq:{{yesno-no|{{{based}}}}}|yes|&#32;based on {{#if:{{{1|}}}|its|this}} TemplateData}}. |#default=[https://bambots.brucemyers.com/TemplateParam.php?wiki=enwiki&template={{Urlencode:{{#if:{{{1|}}}|{{ROOTPAGENAME:{{{1|}}}}}|{{ROOTPAGENAME}}}}}} {{{label|}}}]{{#ifeq:{{yesno-no|{{{based}}}}}|yes|&#32;based on {{#if:{{{1|}}}|its|this}} TemplateData}} }}<noinclude> {{documentation}} </noinclude> b9cdd1b2e409313904f041c38562a3d6221cc017 828 172 1057 1056 2023-06-09T18:10:21Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:High-use]] Scribunto text/plain local p = {} -- _fetch looks at the "demo" argument. local _fetch = require('Module:Transclusion_count').fetch local yesno = require('Module:Yesno') function p.num(frame, count) if count == nil then if yesno(frame.args['fetch']) == false then if (frame.args[1] or '') ~= '' then count = tonumber(frame.args[1]) end else count = _fetch(frame) end end -- Build output string local return_value = "" if count == nil then if frame.args[1] == "risk" then return_value = "a very large number of" else return_value = "many" end else -- Use 2 significant figures for smaller numbers and 3 for larger ones local sigfig = 2 if count >= 100000 then sigfig = 3 end -- Prepare to round to appropriate number of sigfigs local f = math.floor(math.log10(count)) - sigfig + 1 -- Round and insert "approximately" or "+" when appropriate if (frame.args[2] == "yes") or (mw.ustring.sub(frame.args[1],-1) == "+") then -- Round down return_value = string.format("%s+", mw.getContentLanguage():formatNum(math.floor( (count / 10^(f)) ) * (10^(f))) ) else -- Round to nearest return_value = string.format("approximately&#x20;%s", mw.getContentLanguage():formatNum(math.floor( (count / 10^(f)) + 0.5) * (10^(f))) ) end -- Insert percentage of pages if that is likely to be >= 1% and when |no-percent= not set to yes if count and count > 250000 and not yesno (frame:getParent().args['no-percent']) then local percent = math.floor( ( (count/frame:callParserFunction('NUMBEROFPAGES', 'R') ) * 100) + 0.5) if percent >= 1 then return_value = string.format("%s&#x20;pages, or roughly %s%% of all", return_value, percent) end end end return return_value end -- Actions if there is a large (greater than or equal to 100,000) transclusion count function p.risk(frame) local return_value = "" if frame.args[1] == "risk" then return_value = "risk" else local count = _fetch(frame) if count and count >= 100000 then return_value = "risk" end end return return_value end function p.text(frame, count) -- Only show the information about how this template gets updated if someone -- is actually editing the page and maybe trying to update the count. local bot_text = (frame:preprocess("{{REVISIONID}}") == "") and "\n\n----\n'''Preview message''': Transclusion count updated automatically ([[Template:High-use/doc#Technical details|see documentation]])." or '' if count == nil then if yesno(frame.args['fetch']) == false then if (frame.args[1] or '') ~= '' then count = tonumber(frame.args[1]) end else count = _fetch(frame) end end local title = mw.title.getCurrentTitle() if title.subpageText == "doc" or title.subpageText == "sandbox" then title = title.basePageTitle end local systemMessages = frame.args['system'] if frame.args['system'] == '' then systemMessages = nil end -- This retrieves the project URL automatically to simplify localiation. local templateCount = ('on [https://linkcount.toolforge.org/index.php?project=%s&page=%s %s pages]'):format( mw.title.getCurrentTitle():fullUrl():gsub('//(.-)/.*', '%1'), mw.uri.encode(title.fullText), p.num(frame, count)) local used_on_text = "'''This " .. (mw.title.getCurrentTitle().namespace == 828 and "Lua module" or "template") .. ' is used '; if systemMessages then used_on_text = used_on_text .. systemMessages .. ((count and count > 2000) and ("''', and " .. templateCount) or ("'''")) else used_on_text = used_on_text .. templateCount .. "'''" end local sandbox_text = ("%s's [[%s/sandbox|/sandbox]] or [[%s/testcases|/testcases]] subpages, or in your own [[%s]]. "):format( (mw.title.getCurrentTitle().namespace == 828 and "module" or "template"), title.fullText, title.fullText, mw.title.getCurrentTitle().namespace == 828 and "Module:Sandbox|module sandbox" or "Wikipedia:User pages#SUB|user subpage" ) local infoArg = frame.args["info"] ~= "" and frame.args["info"] if (systemMessages or frame.args[1] == "risk" or (count and count >= 100000) ) then local info = systemMessages and '.<br/>Changes to it can cause immediate changes to the Wikipedia user interface.' or '.' if infoArg then info = info .. "<br />" .. infoArg end sandbox_text = info .. '<br /> To avoid major disruption' .. (count and count >= 100000 and ' and server load' or '') .. ', any changes should be tested in the ' .. sandbox_text .. 'The tested changes can be added to this page in a single edit. ' else sandbox_text = (infoArg and ('.<br />' .. infoArg .. ' C') or ' and c') .. 'hanges may be widely noticed. Test changes in the ' .. sandbox_text end local discussion_text = systemMessages and 'Please discuss changes ' or 'Consider discussing changes ' if frame.args["2"] and frame.args["2"] ~= "" and frame.args["2"] ~= "yes" then discussion_text = string.format("%sat [[%s]]", discussion_text, frame.args["2"]) else discussion_text = string.format("%son the [[%s|talk page]]", discussion_text, title.talkPageTitle.fullText ) end return used_on_text .. sandbox_text .. discussion_text .. " before implementing them." .. bot_text end function p.main(frame) local count = nil if yesno(frame.args['fetch']) == false then if (frame.args[1] or '') ~= '' then count = tonumber(frame.args[1]) end else count = _fetch(frame) end local image = "[[File:Ambox warning yellow.svg|40px|alt=Warning|link=]]" local type_param = "style" local epilogue = '' if frame.args['system'] and frame.args['system'] ~= '' then image = "[[File:Ambox important.svg|40px|alt=Warning|link=]]" type_param = "content" local nocat = frame:getParent().args['nocat'] or frame.args['nocat'] local categorise = (nocat == '' or not yesno(nocat)) if categorise then epilogue = frame:preprocess('{{Sandbox other||{{#switch:{{#invoke:Effective protection level|{{#switch:{{NAMESPACE}}|File=upload|#default=edit}}|{{FULLPAGENAME}}}}|sysop|templateeditor|interfaceadmin=|#default=[[Category:Pages used in system messages needing protection]]}}}}') end elseif (frame.args[1] == "risk" or (count and count >= 100000)) then image = "[[File:Ambox warning orange.svg|40px|alt=Warning|link=]]" type_param = "content" end if frame.args["form"] == "editnotice" then return frame:expandTemplate{ title = 'editnotice', args = { ["image"] = image, ["text"] = p.text(frame, count), ["expiry"] = (frame.args["expiry"] or "") } } .. epilogue else return require('Module:Message box').main('ombox', { type = type_param, image = image, text = p.text(frame, count), expiry = (frame.args["expiry"] or "") }) .. epilogue end end return p 134551888e066954a89c109d2faa8af71a4454a4 828 173 1059 1058 2023-06-09T18:10:22Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Transclusion_count]] Scribunto text/plain local p = {} function p.fetch(frame) local template = nil local return_value = nil -- Use demo parameter if it exists, otherswise use current template name local namespace = mw.title.getCurrentTitle().namespace if frame.args["demo"] and frame.args["demo"] ~= "" then template = mw.ustring.gsub(frame.args["demo"],"^[Tt]emplate:","") elseif namespace == 10 then -- Template namespace template = mw.title.getCurrentTitle().text elseif namespace == 828 then -- Module namespace template = (mw.site.namespaces[828].name .. ":" .. mw.title.getCurrentTitle().text) end -- If in template or module namespace, look up count in /data if template ~= nil then namespace = mw.title.new(template, "Template").namespace if namespace == 10 or namespace == 828 then template = mw.ustring.gsub(template, "/doc$", "") -- strip /doc from end template = mw.ustring.gsub(template, "/sandbox$", "") -- strip /sandbox from end local index = mw.ustring.sub(mw.title.new(template).text,1,1) local status, data = pcall(function () return(mw.loadData('Module:Transclusion_count/data/' .. (mw.ustring.find(index, "%a") and index or "other"))) end) if status then return_value = tonumber(data[mw.ustring.gsub(template, " ", "_")]) end end end -- If database value doesn't exist, use value passed to template if return_value == nil and frame.args[1] ~= nil then local arg1=mw.ustring.match(frame.args[1], '[%d,]+') if arg1 and arg1 ~= '' then return_value = tonumber(frame:callParserFunction('formatnum', arg1, 'R')) end end return return_value end -- Tabulate this data for [[Wikipedia:Database reports/Templates transcluded on the most pages]] function p.tabulate(frame) local list = {} for i = 65, 91 do local data = mw.loadData('Module:Transclusion count/data/' .. ((i == 91) and 'other' or string.char(i))) for name, count in pairs(data) do table.insert(list, {mw.title.new(name, "Template").fullText, count}) end end table.sort(list, function(a, b) return (a[2] == b[2]) and (a[1] < b[1]) or (a[2] > b[2]) end) local lang = mw.getContentLanguage(); for i = 1, #list do list[i] = ('|-\n| %d || [[%s]] || %s\n'):format(i, list[i][1]:gsub('_', ' '), lang:formatNum(list[i][2])) end return table.concat(list) end return p 000ef6bcbf7b66e727870b0c300c4009da300513 10 174 1061 1060 2023-06-09T18:10:22Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Clc]] wikitext text/x-wiki #REDIRECT [[Template:Category link with count]] 02280e2ab57b544236e11f913e3759c5781ca9d5 10 175 1063 1062 2023-06-09T18:10:23Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Category_link_with_count]] wikitext text/x-wiki [[:Category:{{#invoke:string|replace|1={{{1}}}|2=^:?[Cc]ategory:|3=|plain=false}}|<!-- -->{{#if:{{{name|}}}|{{{name}}}|Category:{{#invoke:string|replace|1={{{1}}}|2=^:?[Cc]ategory:|3=|plain=false}}}}<!-- -->]]&nbsp;({{PAGESINCATEGORY:{{#invoke:string|replace|1={{{1}}}|2=^:?[Cc]ategory:|3=|plain=false}}|{{{2|all}}}}})<noinclude> {{Documentation}} </noinclude> f93f1540b8c157703bd6d24ae35c35bef745981d 828 177 1065 1064 2023-06-09T18:10:25Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Transclusion_count/data/C]] Scribunto text/plain return { ["C"] = 862000, ["C-Class"] = 78000, ["C-SPAN"] = 12000, ["C-cmn"] = 2600, ["C-pl"] = 52000, ["C."] = 3800, ["CAN"] = 20000, ["CANelec"] = 14000, ["CANelec/gain"] = 2500, ["CANelec/hold"] = 4600, ["CANelec/source"] = 6800, ["CANelec/top"] = 6000, ["CANelec/total"] = 5900, ["CAS"] = 3800, ["CBB_Standings_End"] = 15000, ["CBB_Standings_Entry"] = 15000, ["CBB_Standings_Start"] = 15000, ["CBB_Yearly_Record_End"] = 3000, ["CBB_Yearly_Record_Entry"] = 3100, ["CBB_Yearly_Record_Start"] = 3000, ["CBB_Yearly_Record_Subhead"] = 3600, ["CBB_Yearly_Record_Subtotal"] = 2800, ["CBB_roster/Footer"] = 7800, ["CBB_roster/Header"] = 7800, ["CBB_roster/Player"] = 7800, ["CBB_schedule_end"] = 10000, ["CBB_schedule_entry"] = 11000, ["CBB_schedule_start"] = 11000, ["CBB_yearly_record_end"] = 4100, ["CBB_yearly_record_end/legend"] = 3600, ["CBB_yearly_record_entry"] = 4000, ["CBB_yearly_record_start"] = 4000, ["CBB_yearly_record_subhead"] = 3700, ["CBB_yearly_record_subtotal"] = 3800, ["CBSB_Standings_End"] = 4400, ["CBSB_Standings_Entry"] = 4400, ["CBSB_Standings_Start"] = 4400, ["CBSB_link"] = 3500, ["CC0"] = 4000, ["CENTURY"] = 16000, ["CFB_Standings_End"] = 34000, ["CFB_Standings_Entry"] = 34000, ["CFB_Standings_Start"] = 34000, ["CFB_Yearly_Record_End"] = 6600, ["CFB_Yearly_Record_End/legend"] = 2300, ["CFB_Yearly_Record_Entry"] = 6600, ["CFB_Yearly_Record_Start"] = 6600, ["CFB_Yearly_Record_Subhead"] = 6600, ["CFB_Yearly_Record_Subtotal"] = 6500, ["CFB_schedule"] = 26000, ["CFB_schedule_entry"] = 19000, ["CFL_Year"] = 5600, ["CGF_year"] = 2600, ["CHE"] = 10000, ["CHI"] = 2700, ["CHL"] = 3600, ["CHN"] = 11000, ["CN"] = 3300, ["CO2"] = 3200, ["COI"] = 14000, ["COIUL"] = 128000, ["COI_editnotice"] = 6600, ["COL"] = 4900, ["COLON"] = 13000, ["CRI"] = 2200, ["CRO"] = 4800, ["CSK"] = 2800, ["CSS_image_crop"] = 4400, ["CUB"] = 3600, ["CURRENTDATE"] = 3600, ["CURRENTMINUTE"] = 2500, ["CYP"] = 2000, ["CZE"] = 15000, ["Calendar"] = 2400, ["California/color"] = 11000, ["Call_sign_disambiguation"] = 3000, ["Campaignbox"] = 22000, ["CanProvName"] = 13000, ["CanadaByProvinceCatNav"] = 9800, ["CanadaProvinceThe"] = 4000, ["Canadian_English"] = 6700, ["Canadian_Parliament_links"] = 5100, ["Canadian_election_result"] = 14000, ["Canadian_election_result/gain"] = 2600, ["Canadian_election_result/hold"] = 4800, ["Canadian_election_result/source"] = 7900, ["Canadian_election_result/top"] = 13000, ["Canadian_election_result/top/ElectionYearTest"] = 5700, ["Canadian_election_result/total"] = 10000, ["Canadian_party_colour"] = 8000, ["Canadian_party_colour/colour"] = 18000, ["Canadian_party_colour/colour/default"] = 17000, ["Canadian_party_colour/name"] = 15000, ["Canadian_party_colour/name/default"] = 6700, ["Canned_search"] = 5200, ["Cascite"] = 15000, ["Caselaw_source"] = 4000, ["Cassini-Ehess"] = 2600, ["Cast_listing"] = 15000, ["Castlist"] = 2300, ["Cat"] = 341000, ["CatAutoTOC"] = 651000, ["CatAutoTOC/core"] = 404000, ["CatRel"] = 3800, ["CatTrack"] = 3100, ["Cat_class"] = 6600, ["Cat_in_use"] = 50000, ["Cat_main"] = 197000, ["Cat_more"] = 100000, ["Cat_more_if_exists"] = 41000, ["Cat_see_also"] = 3500, ["Catalog_lookup_link"] = 513000, ["Category-Class"] = 14000, ["Category-inline"] = 8900, ["Category_TOC"] = 72000, ["Category_TOC/tracking"] = 72000, ["Category_U.S._State_elections_by_year"] = 7300, ["Category_U.S._State_elections_by_year/core"] = 7300, ["Category_class"] = 35000, ["Category_class/column"] = 35000, ["Category_class/second_row_column"] = 35000, ["Category_described_in_year"] = 5700, ["Category_diffuse"] = 7900, ["Category_disambiguation"] = 2400, ["Category_disambiguation/category_link"] = 2400, ["Category_explanation"] = 230000, ["Category_handler"] = 3280000, ["Category_ifexist"] = 5000, ["Category_importance"] = 10000, ["Category_importance/column"] = 10000, ["Category_importance/second_row_column"] = 10000, ["Category_link"] = 125000, ["Category_link_with_count"] = 6700, ["Category_more"] = 110000, ["Category_more_if_exists"] = 41000, ["Category_ordered_by_date"] = 11000, ["Category_other"] = 883000, ["Category_redirect"] = 105000, ["Category_see_also"] = 39000, ["Category_see_also/Category_pair_check"] = 39000, ["Category_see_also_if_exists"] = 72000, ["Category_see_also_if_exists_2"] = 88000, ["Category_title"] = 2400, ["Catexp"] = 7800, ["CathEncy"] = 2300, ["Catholic"] = 4100, ["Catholic_Encyclopedia"] = 5100, ["Catmain"] = 26000, ["Catmore"] = 9300, ["Cbb_link"] = 8500, ["Cbignore"] = 100000, ["Cbsb_link"] = 2100, ["Cc-by-2.5"] = 3900, ["Cc-by-3.0"] = 8800, ["Cc-by-sa-2.5"] = 2600, ["Cc-by-sa-2.5,2.0,1.0"] = 2700, ["Cc-by-sa-3.0"] = 26000, ["Cc-by-sa-3.0,2.5,2.0,1.0"] = 2300, ["Cc-by-sa-3.0-migrated"] = 25000, ["Cc-by-sa-4.0"] = 12000, ["Cc-zero"] = 3900, ["CensusAU"] = 9300, ["Census_2016_AUS"] = 7100, ["Cent"] = 5700, ["Center"] = 288000, ["Centralized_discussion"] = 6000, ["Centralized_discussion/core"] = 6000, ["Centralized_discussion/styles.css"] = 6000, ["Centre"] = 3100, ["Century"] = 2100, ["Century_name_from_decade"] = 2400, ["Century_name_from_decade_or_year"] = 77000, ["Century_name_from_title_decade"] = 7600, ["Century_name_from_title_year"] = 7600, ["Certification_Cite/Title"] = 29000, ["Certification_Cite/URL"] = 33000, ["Certification_Cite/archivedate"] = 5900, ["Certification_Cite/archiveurl"] = 5900, ["Certification_Cite_Ref"] = 29000, ["Certification_Table_Bottom"] = 28000, ["Certification_Table_Entry"] = 29000, ["Certification_Table_Entry/Foot"] = 28000, ["Certification_Table_Entry/Foot/helper"] = 28000, ["Certification_Table_Entry/Region"] = 29000, ["Certification_Table_Entry/Sales"] = 28000, ["Certification_Table_Entry/Sales/BelgianPeriod"] = 2100, ["Certification_Table_Entry/Sales/DanishPeriod"] = 3200, ["Certification_Table_Entry/Sales/DanishPeriodHelper1"] = 3200, ["Certification_Table_Entry/Sales/DanishPeriodHelper2"] = 3200, ["Certification_Table_Entry/Sales/GermanPeriod"] = 3900, ["Certification_Table_Entry/Sales/ItalianHelper"] = 3100, ["Certification_Table_Entry/Sales/NewZealandPeriod"] = 2000, ["Certification_Table_Entry/Sales/SwedishPeriod"] = 2100, ["Certification_Table_Separator"] = 2300, ["Certification_Table_Top"] = 29000, ["Cfb_link"] = 24000, ["Cfd_all"] = 3200, ["Cfd_result"] = 2400, ["Cfdend"] = 4000, ["Chart"] = 4600, ["Chart/end"] = 4600, ["Chart/start"] = 4600, ["Chart_bottom"] = 3400, ["Chart_top"] = 3400, ["Check_completeness_of_transclusions"] = 7300, ["Check_talk"] = 30000, ["Check_talk_wp"] = 1370000, ["Check_winner_by_scores"] = 13000, ["CheckedSockpuppet"] = 7100, ["Checked_sockpuppet"] = 18000, ["Checkedsockpuppet"] = 5300, ["Checkip"] = 13000, ["Checkuser"] = 74000, ["Checkuserblock-account"] = 15000, ["Chem"] = 5800, ["Chem/atom"] = 5700, ["Chem/link"] = 5800, ["Chem2"] = 4500, ["Chem_molar_mass"] = 18000, ["Chem_molar_mass/format"] = 18000, ["Chembox"] = 14000, ["Chembox/styles.css"] = 14000, ["Chembox_3DMet"] = 14000, ["Chembox_3DMet/format"] = 14000, ["Chembox_AllOtherNames"] = 13000, ["Chembox_AllOtherNames/format"] = 13000, ["Chembox_Appearance"] = 6000, ["Chembox_BoilingPt"] = 3800, ["Chembox_CASNo"] = 14000, ["Chembox_CASNo/format"] = 14000, ["Chembox_CalcTemperatures"] = 6700, ["Chembox_ChEBI"] = 14000, ["Chembox_ChEBI/format"] = 14000, ["Chembox_ChEMBL"] = 14000, ["Chembox_ChEMBL/format"] = 14000, ["Chembox_ChemSpiderID"] = 14000, ["Chembox_ChemSpiderID/format"] = 14000, ["Chembox_CompTox"] = 14000, ["Chembox_CompTox/format"] = 14000, ["Chembox_Datapage_check"] = 14000, ["Chembox_Density"] = 4800, ["Chembox_DrugBank"] = 14000, ["Chembox_DrugBank/format"] = 14000, ["Chembox_ECHA"] = 7500, ["Chembox_ECNumber"] = 14000, ["Chembox_ECNumber/format"] = 14000, ["Chembox_Elements"] = 13000, ["Chembox_Elements/molecular_formula"] = 18000, ["Chembox_Footer"] = 14000, ["Chembox_Footer/tracking"] = 14000, ["Chembox_GHS_(set)"] = 3400, ["Chembox_Hazards"] = 11000, ["Chembox_IUPHAR_ligand"] = 14000, ["Chembox_IUPHAR_ligand/format"] = 14000, ["Chembox_Identifiers"] = 14000, ["Chembox_InChI"] = 12000, ["Chembox_InChI/format"] = 12000, ["Chembox_Indexlist"] = 14000, ["Chembox_Jmol"] = 14000, ["Chembox_Jmol/format"] = 14000, ["Chembox_KEGG"] = 14000, ["Chembox_KEGG/format"] = 14000, ["Chembox_MeltingPt"] = 5800, ["Chembox_Properties"] = 14000, ["Chembox_PubChem"] = 14000, ["Chembox_PubChem/format"] = 14000, ["Chembox_RTECS"] = 14000, ["Chembox_RTECS/format"] = 14000, ["Chembox_Related"] = 3300, ["Chembox_SMILES"] = 13000, ["Chembox_SMILES/format"] = 13000, ["Chembox_SolubilityInWater"] = 3900, ["Chembox_Structure"] = 2100, ["Chembox_UNII"] = 14000, ["Chembox_UNII/format"] = 14000, ["Chembox_headerbar"] = 14000, ["Chembox_image"] = 13000, ["Chembox_image_cell"] = 12000, ["Chembox_image_sbs"] = 13000, ["Chembox_parametercheck"] = 13000, ["Chembox_setDatarow"] = 4400, ["Chembox_setHeader"] = 4400, ["Chembox_templatePar/formatPreviewMessage"] = 14000, ["Chembox_verification"] = 7200, ["Chemicals"] = 7400, ["Chemistry"] = 3100, ["Chemspidercite"] = 11000, ["Chessgames_player"] = 3600, ["Chinese"] = 7300, ["Chr"] = 9100, ["ChristianityWikiProject"] = 5800, ["Circa"] = 66000, ["Circular_reference"] = 4200, ["Citation"] = 398000, ["Citation/make_link"] = 6000, ["Citation/styles.css"] = 46000, ["Citation_needed"] = 538000, ["Citation_needed_span"] = 3500, ["Citation_style"] = 4200, ["Cite_AV_media"] = 42000, ["Cite_AV_media_notes"] = 26000, ["Cite_Appletons'"] = 2400, ["Cite_Australian_Dictionary_of_Biography"] = 3300, ["Cite_Catholic_Encyclopedia"] = 8100, ["Cite_Colledge2006"] = 3100, ["Cite_DCB"] = 2800, ["Cite_DNB"] = 18000, ["Cite_EB1911"] = 25000, ["Cite_GNIS"] = 2300, ["Cite_Gaia_DR2"] = 2100, ["Cite_Jewish_Encyclopedia"] = 2900, ["Cite_NIE"] = 3600, ["Cite_NSW_Parliament"] = 3300, ["Cite_NSW_SHR"] = 2600, ["Cite_ODNB"] = 17000, ["Cite_Q"] = 43000, ["Cite_QHR"] = 3000, ["Cite_QPN"] = 4000, ["Cite_Rowlett"] = 2500, ["Cite_Russian_law"] = 7800, ["Cite_Ryan"] = 3200, ["Cite_Sports-Reference"] = 54000, ["Cite_USGov"] = 24000, ["Cite_WoRMS"] = 5400, ["Cite_act"] = 2600, ["Cite_arXiv"] = 4900, ["Cite_bcgnis"] = 3100, ["Cite_book"] = 1570000, ["Cite_certification"] = 33000, ["Cite_cgndb"] = 3200, ["Cite_conference"] = 15000, ["Cite_court"] = 5300, ["Cite_court/styles.css"] = 5300, ["Cite_dictionary"] = 5400, ["Cite_document"] = 7500, ["Cite_encyclopedia"] = 200000, ["Cite_episode"] = 17000, ["Cite_gnis"] = 34000, ["Cite_interview"] = 7600, ["Cite_iucn"] = 57000, ["Cite_journal"] = 947000, ["Cite_magazine"] = 257000, ["Cite_map"] = 37000, ["Cite_news"] = 1480000, ["Cite_newspaper_The_Times"] = 6500, ["Cite_patent"] = 5400, ["Cite_patent/authors"] = 4300, ["Cite_patent/core"] = 5700, ["Cite_peakbagger"] = 4500, ["Cite_podcast"] = 3600, ["Cite_press_release"] = 63000, ["Cite_report"] = 35000, ["Cite_rowlett"] = 2500, ["Cite_simbad"] = 4400, ["Cite_sports-reference"] = 59000, ["Cite_thesis"] = 31000, ["Cite_tweet"] = 35000, ["Cite_video"] = 12000, ["Cite_video_game"] = 3100, ["Cite_web"] = 4520000, ["Cite_wikisource"] = 5500, ["Cite_wikisource/make_link"] = 58000, ["Civil_navigation"] = 2700, ["Cl"] = 123000, ["Clade"] = 7500, ["Clade/styles.css"] = 7500, ["Clarify"] = 40000, ["Class"] = 8190000, ["Class/colour"] = 547000, ["Class/icon"] = 28000, ["Class_mask"] = 8550000, ["Class_mask/b"] = 347000, ["Classical"] = 6900, ["Classicon"] = 4700, ["Clc"] = 5800, ["Cleanup"] = 10000, ["Cleanup_bare_URLs"] = 31000, ["Cleanup_reorganize"] = 2500, ["Cleanup_rewrite"] = 5800, ["Clear"] = 2920000, ["Clear-left"] = 16000, ["Clear_left"] = 30000, ["Clear_right"] = 2900, ["Clerk-Note"] = 9700, ["Clerknote"] = 7400, ["Clickable_button"] = 16000, ["Clickable_button_2"] = 952000, ["Closed_access"] = 4400, ["Closed_rfc_top"] = 2200, ["Clr"] = 3700, ["Clubplayerscat"] = 8300, ["Cmbox"] = 414000, ["Cn"] = 91000, ["Cnote2"] = 2200, ["Cnote2_Begin"] = 2300, ["Cnote2_End"] = 2300, ["Coat_of_arms"] = 5300, ["Cob"] = 12000, ["Code"] = 49000, ["Col-1-of-2"] = 2400, ["Col-2"] = 169000, ["Col-2-of-2"] = 2300, ["Col-3"] = 9700, ["Col-4"] = 3500, ["Col-begin"] = 211000, ["Col-break"] = 210000, ["Col-end"] = 210000, ["Col-float"] = 2700, ["Col-float-break"] = 2600, ["Col-float-end"] = 2600, ["Col-float/styles.css"] = 2700, ["Col-start"] = 20000, ["Colbegin"] = 21000, ["Colend"] = 24000, ["Collapse"] = 9600, ["Collapse_bottom"] = 51000, ["Collapse_top"] = 51000, ["Collapsebottom"] = 3800, ["Collapsetop"] = 3800, ["Collapsible_list"] = 52000, ["Collapsible_option"] = 134000, ["College"] = 8700, ["CollegePrimaryHeader"] = 5700, ["CollegePrimaryStyle"] = 95000, ["CollegeSecondaryStyle"] = 3400, ["College_Athlete_Recruit_End"] = 2800, ["College_Athlete_Recruit_Entry"] = 3000, ["College_Athlete_Recruit_Start"] = 2900, ["College_athlete_recruit_end"] = 4000, ["College_athlete_recruit_entry"] = 4100, ["College_athlete_recruit_start"] = 4100, ["College_color_list"] = 3900, ["Colon"] = 17000, ["Color"] = 463000, ["Color_box"] = 72000, ["Colorbox"] = 3600, ["Colorbull"] = 4900, ["Colored_link"] = 62000, ["Colors"] = 3500, ["Colour"] = 5800, ["Coloured_link"] = 6900, ["Column"] = 2400, ["Column/styles.css"] = 2500, ["Columns-end"] = 2200, ["Columns-list"] = 99000, ["Columns-start"] = 2200, ["Comedy"] = 2600, ["Comic_Book_DB"] = 3500, ["Comicbookdb"] = 3500, ["Comics-replaceability"] = 2900, ["Comics_infobox_sec/creator_nat"] = 2800, ["Comics_infobox_sec/formcat"] = 3200, ["Comics_infobox_sec/genre"] = 3900, ["Comics_infobox_sec/genrecat"] = 3600, ["Comics_infobox_sec/styles.css"] = 8100, ["Comicsproj"] = 28000, ["Comma_separated_entries"] = 424000, ["Comma_separated_values"] = 44000, ["Comment"] = 5000, ["Committed_identity"] = 3000, ["Committed_identity/styles.css"] = 3000, ["Commons"] = 65000, ["Commons-inline"] = 19000, ["Commons_cat"] = 48000, ["Commons_category"] = 842000, ["Commons_category-inline"] = 145000, ["Commons_category_inline"] = 6000, ["Commonscat"] = 66000, ["Commonscat-inline"] = 18000, ["Commonscat_inline"] = 2400, ["Commonscatinline"] = 6500, ["Compact_TOC"] = 6900, ["Compact_ToC"] = 4900, ["Compare"] = 5000, ["Compare_image_with_Wikidata"] = 10000, ["Composition_bar"] = 10000, ["Confirmed"] = 16000, ["Confused"] = 2700, ["Confusing"] = 2400, ["CongBio"] = 9700, ["CongLinks"] = 4500, ["Connected_contributor"] = 17000, ["Connected_contributor_(paid)"] = 6800, ["Constellation_navbox"] = 6700, ["Container"] = 11000, ["Container_cat"] = 7500, ["Container_category"] = 42000, ["Containercat"] = 2600, ["Contains_special_characters"] = 4000, ["Contains_special_characters/core"] = 4000, ["Contains_special_characters/styles.css"] = 4000, ["Content_category"] = 7600, ["Contentious_topics/list"] = 13000, ["Contentious_topics/page_restriction_editnotice_base"] = 2400, ["Contentious_topics/page_restriction_talk_notice_base"] = 3600, ["Contentious_topics/talk_notice"] = 6400, ["Context"] = 2700, ["Continent2continental"] = 16000, ["Continent_adjective_to_noun"] = 2200, ["Controversial"] = 3200, ["Convert"] = 1160000, ["Convinfobox"] = 203000, ["Convinfobox/2"] = 16000, ["Convinfobox/3"] = 118000, ["Convinfobox/pri2"] = 62000, ["Convinfobox/prisec2"] = 3000, ["Convinfobox/prisec3"] = 25000, ["Convinfobox/sec2"] = 9200, ["Coord"] = 1320000, ["Coord_missing"] = 96000, ["Coord_missing/CheckCat"] = 95000, ["Coords"] = 8000, ["Copied"] = 18000, ["Copy_edit"] = 2300, ["Copy_to_Wikimedia_Commons"] = 113000, ["Copyvios"] = 5300, ["Cospar"] = 2500, ["Cot"] = 12000, ["Count"] = 653000, ["Country2continent"] = 35000, ["Country2continental"] = 2400, ["Country2nationality"] = 339000, ["CountryPrefixThe"] = 109000, ["Country_abbreviation"] = 88000, ["Country_alias"] = 15000, ["Country_at_games_navbox"] = 2600, ["Country_at_games_navbox/below"] = 2600, ["Country_data"] = 6700, ["Country_data_AFG"] = 2200, ["Country_data_ALB"] = 6500, ["Country_data_ALG"] = 9100, ["Country_data_AND"] = 2900, ["Country_data_ANG"] = 3800, ["Country_data_ARG"] = 46000, ["Country_data_ARM"] = 7200, ["Country_data_AUS"] = 74000, ["Country_data_AUT"] = 45000, ["Country_data_AZE"] = 9000, ["Country_data_Afghanistan"] = 12000, ["Country_data_Alaska"] = 2100, ["Country_data_Albania"] = 19000, ["Country_data_Alberta"] = 3600, ["Country_data_Algeria"] = 24000, ["Country_data_American_Samoa"] = 2900, ["Country_data_Andorra"] = 7800, ["Country_data_Angola"] = 11000, ["Country_data_Anguilla"] = 2500, ["Country_data_Antigua_and_Barbuda"] = 6000, ["Country_data_Apulia"] = 7900, ["Country_data_Argentina"] = 80000, ["Country_data_Arizona"] = 2300, ["Country_data_Arkansas"] = 2000, ["Country_data_Armenia"] = 22000, ["Country_data_Aruba"] = 3600, ["Country_data_Australia"] = 125000, ["Country_data_Austria"] = 77000, ["Country_data_Azerbaijan"] = 27000, ["Country_data_BAH"] = 3800, ["Country_data_BAN"] = 3800, ["Country_data_BAR"] = 2400, ["Country_data_BEL"] = 50000, ["Country_data_BER"] = 2200, ["Country_data_BHR"] = 4500, ["Country_data_BIH"] = 12000, ["Country_data_BLR"] = 24000, ["Country_data_BOL"] = 5600, ["Country_data_BOT"] = 2200, ["Country_data_BRA"] = 57000, ["Country_data_BUL"] = 26000, ["Country_data_Bahamas"] = 9600, ["Country_data_Bahrain"] = 12000, ["Country_data_Bangladesh"] = 18000, ["Country_data_Barbados"] = 8000, ["Country_data_Belarus"] = 43000, ["Country_data_Belgium"] = 88000, ["Country_data_Belize"] = 5200, ["Country_data_Benin"] = 7300, ["Country_data_Bermuda"] = 5700, ["Country_data_Bhutan"] = 4600, ["Country_data_Bolivia"] = 14000, ["Country_data_Bosnia_and_Herzegovina"] = 29000, ["Country_data_Botswana"] = 9000, ["Country_data_Brazil"] = 100000, ["Country_data_British_Columbia"] = 3400, ["Country_data_British_Raj"] = 2200, ["Country_data_British_Virgin_Islands"] = 3200, ["Country_data_Brunei"] = 6200, ["Country_data_Bulgaria"] = 52000, ["Country_data_Burkina_Faso"] = 10000, ["Country_data_Burma"] = 2700, ["Country_data_Burundi"] = 6000, ["Country_data_CAM"] = 2000, ["Country_data_CAN"] = 58000, ["Country_data_CGO"] = 2400, ["Country_data_CHE"] = 4600, ["Country_data_CHI"] = 17000, ["Country_data_CHL"] = 2100, ["Country_data_CHN"] = 41000, ["Country_data_CIV"] = 7900, ["Country_data_CMR"] = 8600, ["Country_data_COD"] = 3200, ["Country_data_COL"] = 24000, ["Country_data_CPV"] = 2000, ["Country_data_CRC"] = 6500, ["Country_data_CRO"] = 33000, ["Country_data_CUB"] = 9800, ["Country_data_CYP"] = 8900, ["Country_data_CZE"] = 45000, ["Country_data_California"] = 5800, ["Country_data_Cambodia"] = 8700, ["Country_data_Cameroon"] = 18000, ["Country_data_Canada"] = 121000, ["Country_data_Cape_Verde"] = 6200, ["Country_data_Castile_and_León"] = 2000, ["Country_data_Catalonia"] = 3100, ["Country_data_Cayman_Islands"] = 4100, ["Country_data_Central_African_Republic"] = 5000, ["Country_data_Chad"] = 5500, ["Country_data_Chile"] = 40000, ["Country_data_China"] = 82000, ["Country_data_Chinese_Taipei"] = 19000, ["Country_data_Colombia"] = 46000, ["Country_data_Colorado"] = 5600, ["Country_data_Comoros"] = 4400, ["Country_data_Confederate_States_of_America"] = 3100, ["Country_data_Connecticut"] = 3200, ["Country_data_Cook_Islands"] = 3800, ["Country_data_Costa_Rica"] = 18000, ["Country_data_Croatia"] = 55000, ["Country_data_Cuba"] = 22000, ["Country_data_Curaçao"] = 3500, ["Country_data_Cyprus"] = 22000, ["Country_data_Czech_Republic"] = 81000, ["Country_data_Czechoslovakia"] = 18000, ["Country_data_DEN"] = 34000, ["Country_data_DEU"] = 8600, ["Country_data_DNK"] = 3500, ["Country_data_DOM"] = 7000, ["Country_data_Democratic_Republic_of_the_Congo"] = 12000, ["Country_data_Denmark"] = 68000, ["Country_data_Djibouti"] = 4500, ["Country_data_Dominica"] = 4200, ["Country_data_Dominican_Republic"] = 17000, ["Country_data_ECU"] = 12000, ["Country_data_EGY"] = 13000, ["Country_data_ENG"] = 46000, ["Country_data_ESA"] = 2200, ["Country_data_ESP"] = 71000, ["Country_data_EST"] = 14000, ["Country_data_ETH"] = 3300, ["Country_data_EU"] = 3700, ["Country_data_East_Germany"] = 14000, ["Country_data_East_Timor"] = 4900, ["Country_data_Ecuador"] = 25000, ["Country_data_Egypt"] = 31000, ["Country_data_El_Salvador"] = 13000, ["Country_data_Empire_of_Japan"] = 3900, ["Country_data_England"] = 96000, ["Country_data_Equatorial_Guinea"] = 5100, ["Country_data_Eritrea"] = 5300, ["Country_data_Estonia"] = 34000, ["Country_data_Eswatini"] = 5000, ["Country_data_Ethiopia"] = 13000, ["Country_data_Europe"] = 2400, ["Country_data_European_Union"] = 7300, ["Country_data_FIJ"] = 3800, ["Country_data_FIN"] = 34000, ["Country_data_FRA"] = 97000, ["Country_data_FRG"] = 15000, ["Country_data_FR_Yugoslavia"] = 4000, ["Country_data_Faroe_Islands"] = 5400, ["Country_data_Federated_States_of_Micronesia"] = 3000, ["Country_data_Fiji"] = 12000, ["Country_data_Finland"] = 68000, ["Country_data_Florida"] = 6500, ["Country_data_France"] = 191000, ["Country_data_French_Guiana"] = 2100, ["Country_data_French_Polynesia"] = 3800, ["Country_data_GAB"] = 2300, ["Country_data_GAM"] = 2000, ["Country_data_GBR"] = 54000, ["Country_data_GDR"] = 8100, ["Country_data_GEO"] = 14000, ["Country_data_GER"] = 81000, ["Country_data_GHA"] = 9700, ["Country_data_GRE"] = 25000, ["Country_data_GUA"] = 4900, ["Country_data_GUI"] = 3100, ["Country_data_GUY"] = 2300, ["Country_data_Gabon"] = 7500, ["Country_data_Gambia"] = 6700, ["Country_data_Georgia"] = 8100, ["Country_data_Georgia_(U.S._state)"] = 2800, ["Country_data_Georgia_(country)"] = 29000, ["Country_data_German_Empire"] = 5300, ["Country_data_Germany"] = 149000, ["Country_data_Ghana"] = 23000, ["Country_data_Gibraltar"] = 4900, ["Country_data_Great_Britain"] = 73000, ["Country_data_Greece"] = 57000, ["Country_data_Greenland"] = 2800, ["Country_data_Grenada"] = 5100, ["Country_data_Guadeloupe"] = 2800, ["Country_data_Guam"] = 4700, ["Country_data_Guatemala"] = 13000, ["Country_data_Guernsey"] = 2100, ["Country_data_Guinea"] = 8300, ["Country_data_Guinea-Bissau"] = 5000, ["Country_data_Guyana"] = 7400, ["Country_data_HAI"] = 3100, ["Country_data_HKG"] = 13000, ["Country_data_HON"] = 4300, ["Country_data_HUN"] = 37000, ["Country_data_Haiti"] = 8600, ["Country_data_Honduras"] = 12000, ["Country_data_Hong_Kong"] = 26000, ["Country_data_Hungary"] = 69000, ["Country_data_IDN"] = 4900, ["Country_data_INA"] = 10000, ["Country_data_IND"] = 30000, ["Country_data_IRE"] = 10000, ["Country_data_IRI"] = 5400, ["Country_data_IRL"] = 21000, ["Country_data_IRN"] = 6200, ["Country_data_IRQ"] = 4100, ["Country_data_ISL"] = 8400, ["Country_data_ISR"] = 21000, ["Country_data_ITA"] = 85000, ["Country_data_Iceland"] = 23000, ["Country_data_Idaho"] = 2100, ["Country_data_Illinois"] = 4400, ["Country_data_India"] = 108000, ["Country_data_Indiana"] = 2800, ["Country_data_Indonesia"] = 36000, ["Country_data_Iowa"] = 3000, ["Country_data_Iran"] = 91000, ["Country_data_Iraq"] = 14000, ["Country_data_Ireland"] = 34000, ["Country_data_Isle_of_Man"] = 2800, ["Country_data_Israel"] = 45000, ["Country_data_Italy"] = 143000, ["Country_data_Ivory_Coast"] = 17000, ["Country_data_JAM"] = 9300, ["Country_data_JOR"] = 3900, ["Country_data_JP"] = 8100, ["Country_data_JPN"] = 58000, ["Country_data_Jamaica"] = 21000, ["Country_data_Japan"] = 117000, ["Country_data_Jersey"] = 2500, ["Country_data_Jordan"] = 12000, ["Country_data_KAZ"] = 19000, ["Country_data_KEN"] = 7100, ["Country_data_KGZ"] = 3700, ["Country_data_KOR"] = 31000, ["Country_data_KOS"] = 2300, ["Country_data_KSA"] = 5800, ["Country_data_KUW"] = 4000, ["Country_data_Kazakhstan"] = 33000, ["Country_data_Kenya"] = 19000, ["Country_data_Kingdom_of_France"] = 2100, ["Country_data_Kingdom_of_Great_Britain"] = 4800, ["Country_data_Kingdom_of_Italy"] = 4200, ["Country_data_Kiribati"] = 2900, ["Country_data_Kosovo"] = 8700, ["Country_data_Kuwait"] = 11000, ["Country_data_Kyrgyzstan"] = 9200, ["Country_data_LAT"] = 14000, ["Country_data_LBN"] = 2300, ["Country_data_LIB"] = 2500, ["Country_data_LIE"] = 3100, ["Country_data_LIT"] = 3000, ["Country_data_LTU"] = 12000, ["Country_data_LUX"] = 10000, ["Country_data_LVA"] = 2500, ["Country_data_Laos"] = 7400, ["Country_data_Latvia"] = 32000, ["Country_data_Lebanon"] = 15000, ["Country_data_Lesotho"] = 5200, ["Country_data_Liberia"] = 7200, ["Country_data_Libya"] = 8600, ["Country_data_Liechtenstein"] = 7700, ["Country_data_Lithuania"] = 31000, ["Country_data_Luxembourg"] = 23000, ["Country_data_MAC"] = 2400, ["Country_data_MAR"] = 12000, ["Country_data_MAS"] = 11000, ["Country_data_MDA"] = 7500, ["Country_data_MEX"] = 30000, ["Country_data_MGL"] = 2900, ["Country_data_MKD"] = 7400, ["Country_data_MLI"] = 4300, ["Country_data_MLT"] = 5500, ["Country_data_MNE"] = 7700, ["Country_data_MON"] = 3600, ["Country_data_MOZ"] = 2100, ["Country_data_MRI"] = 2000, ["Country_data_MYA"] = 3000, ["Country_data_MYS"] = 3700, ["Country_data_Macau"] = 6300, ["Country_data_Macedonia"] = 5000, ["Country_data_Madagascar"] = 9000, ["Country_data_Malawi"] = 5600, ["Country_data_Malaysia"] = 36000, ["Country_data_Maldives"] = 6000, ["Country_data_Mali"] = 12000, ["Country_data_Malta"] = 17000, ["Country_data_Manitoba"] = 2500, ["Country_data_Marshall_Islands"] = 3700, ["Country_data_Martinique"] = 2800, ["Country_data_Maryland"] = 3100, ["Country_data_Massachusetts"] = 2900, ["Country_data_Mauritania"] = 5800, ["Country_data_Mauritius"] = 7900, ["Country_data_Mexico"] = 66000, ["Country_data_Michigan"] = 4300, ["Country_data_Minnesota"] = 3700, ["Country_data_Missouri"] = 2100, ["Country_data_Moldova"] = 19000, ["Country_data_Monaco"] = 10000, ["Country_data_Mongolia"] = 9600, ["Country_data_Montana"] = 2100, ["Country_data_Montenegro"] = 18000, ["Country_data_Montserrat"] = 2500, ["Country_data_Morocco"] = 27000, ["Country_data_Mozambique"] = 7200, ["Country_data_Myanmar"] = 13000, ["Country_data_NAM"] = 3400, ["Country_data_NED"] = 59000, ["Country_data_NEP"] = 2800, ["Country_data_NGA"] = 8000, ["Country_data_NGR"] = 7900, ["Country_data_NIR"] = 9900, ["Country_data_NLD"] = 6000, ["Country_data_NOR"] = 29000, ["Country_data_NZ"] = 3100, ["Country_data_NZL"] = 32000, ["Country_data_Namibia"] = 9700, ["Country_data_Nauru"] = 2500, ["Country_data_Nazi_Germany"] = 9600, ["Country_data_Nepal"] = 17000, ["Country_data_Netherlands"] = 112000, ["Country_data_Netherlands_Antilles"] = 2300, ["Country_data_New_Brunswick"] = 2500, ["Country_data_New_Caledonia"] = 3400, ["Country_data_New_Jersey"] = 4200, ["Country_data_New_South_Wales"] = 5800, ["Country_data_New_York"] = 4800, ["Country_data_New_York_(state)"] = 6800, ["Country_data_New_Zealand"] = 66000, ["Country_data_Newfoundland_and_Labrador"] = 2300, ["Country_data_Nicaragua"] = 8200, ["Country_data_Niger"] = 5800, ["Country_data_Nigeria"] = 32000, ["Country_data_North_Carolina"] = 3500, ["Country_data_North_Korea"] = 13000, ["Country_data_North_Macedonia"] = 17000, ["Country_data_Northern_Ireland"] = 15000, ["Country_data_Northern_Mariana_Islands"] = 2800, ["Country_data_Norway"] = 72000, ["Country_data_Nova_Scotia"] = 2300, ["Country_data_OMA"] = 2700, ["Country_data_Ohio"] = 4800, ["Country_data_Oman"] = 8600, ["Country_data_Ontario"] = 3800, ["Country_data_Ottoman_Empire"] = 2600, ["Country_data_PAK"] = 7900, ["Country_data_PAN"] = 5600, ["Country_data_PAR"] = 9900, ["Country_data_PER"] = 12000, ["Country_data_PHI"] = 11000, ["Country_data_PHL"] = 2500, ["Country_data_PNG"] = 2600, ["Country_data_POL"] = 49000, ["Country_data_POR"] = 31000, ["Country_data_PRC"] = 2100, ["Country_data_PRK"] = 4600, ["Country_data_PRT"] = 2800, ["Country_data_PUR"] = 7200, ["Country_data_Pakistan"] = 28000, ["Country_data_Palau"] = 3000, ["Country_data_Palestine"] = 6600, ["Country_data_Panama"] = 16000, ["Country_data_Papua_New_Guinea"] = 7900, ["Country_data_Paraguay"] = 20000, ["Country_data_Pennsylvania"] = 3700, ["Country_data_People's_Republic_of_China"] = 3300, ["Country_data_Peru"] = 30000, ["Country_data_Philippines"] = 34000, ["Country_data_Poland"] = 149000, ["Country_data_Portugal"] = 68000, ["Country_data_Prussia"] = 2600, ["Country_data_Puerto_Rico"] = 17000, ["Country_data_QAT"] = 7600, ["Country_data_Qatar"] = 17000, ["Country_data_Quebec"] = 4200, ["Country_data_ROM"] = 13000, ["Country_data_ROU"] = 26000, ["Country_data_RSA"] = 31000, ["Country_data_RUS"] = 62000, ["Country_data_Republic_of_China"] = 5600, ["Country_data_Republic_of_Ireland"] = 25000, ["Country_data_Republic_of_the_Congo"] = 7500, ["Country_data_Romania"] = 68000, ["Country_data_Russia"] = 114000, ["Country_data_Russian_Empire"] = 4800, ["Country_data_Rwanda"] = 7500, ["Country_data_SAM"] = 3100, ["Country_data_SCG"] = 3100, ["Country_data_SCO"] = 26000, ["Country_data_SEN"] = 7900, ["Country_data_SER"] = 3500, ["Country_data_SGP"] = 2600, ["Country_data_SIN"] = 6900, ["Country_data_SLO"] = 19000, ["Country_data_SLV"] = 3000, ["Country_data_SMR"] = 3100, ["Country_data_SPA"] = 4600, ["Country_data_SRB"] = 26000, ["Country_data_SRI"] = 4600, ["Country_data_SUI"] = 42000, ["Country_data_SUR"] = 2000, ["Country_data_SVK"] = 28000, ["Country_data_SVN"] = 6600, ["Country_data_SWE"] = 56000, ["Country_data_SWI"] = 4600, ["Country_data_SYR"] = 3500, ["Country_data_Saint_Kitts_and_Nevis"] = 4700, ["Country_data_Saint_Lucia"] = 4900, ["Country_data_Saint_Vincent_and_the_Grenadines"] = 4800, ["Country_data_Samoa"] = 7700, ["Country_data_San_Marino"] = 8300, ["Country_data_Saskatchewan"] = 2900, ["Country_data_Saudi_Arabia"] = 19000, ["Country_data_Scotland"] = 51000, ["Country_data_Senegal"] = 17000, ["Country_data_Serbia"] = 53000, ["Country_data_Serbia_and_Montenegro"] = 5100, ["Country_data_Seychelles"] = 5400, ["Country_data_Sierra_Leone"] = 7200, ["Country_data_Singapore"] = 27000, ["Country_data_Slovakia"] = 50000, ["Country_data_Slovenia"] = 42000, ["Country_data_Solomon_Islands"] = 4600, ["Country_data_Somalia"] = 6100, ["Country_data_South_Africa"] = 69000, ["Country_data_South_Carolina"] = 3300, ["Country_data_South_Korea"] = 66000, ["Country_data_South_Sudan"] = 4000, ["Country_data_South_Vietnam"] = 2100, ["Country_data_Soviet_Union"] = 36000, ["Country_data_Spain"] = 131000, ["Country_data_Sri_Lanka"] = 19000, ["Country_data_Sudan"] = 7900, ["Country_data_Suriname"] = 6400, ["Country_data_Sweden"] = 100000, ["Country_data_Switzerland"] = 82000, ["Country_data_Syria"] = 15000, ["Country_data_São_Tomé_and_Príncipe"] = 3400, ["Country_data_TAN"] = 2400, ["Country_data_TCH"] = 11000, ["Country_data_THA"] = 21000, ["Country_data_TJK"] = 2600, ["Country_data_TKM"] = 2700, ["Country_data_TPE"] = 15000, ["Country_data_TRI"] = 4700, ["Country_data_TUN"] = 10000, ["Country_data_TUR"] = 27000, ["Country_data_Taiwan"] = 13000, ["Country_data_Tajikistan"] = 8900, ["Country_data_Tanzania"] = 12000, ["Country_data_Texas"] = 5200, ["Country_data_Thailand"] = 44000, ["Country_data_Togo"] = 6900, ["Country_data_Tonga"] = 6400, ["Country_data_Trinidad_and_Tobago"] = 14000, ["Country_data_Tunisia"] = 22000, ["Country_data_Turkey"] = 77000, ["Country_data_Turkmenistan"] = 7800, ["Country_data_Turks_and_Caicos_Islands"] = 2600, ["Country_data_Tuvalu"] = 2800, ["Country_data_U.S."] = 2100, ["Country_data_U.S._Virgin_Islands"] = 4800, ["Country_data_UAE"] = 9100, ["Country_data_UGA"] = 4000, ["Country_data_UK"] = 18000, ["Country_data_UKGBI"] = 3100, ["Country_data_UKR"] = 36000, ["Country_data_URS"] = 14000, ["Country_data_URU"] = 15000, ["Country_data_US"] = 4900, ["Country_data_USA"] = 131000, ["Country_data_USSR"] = 4500, ["Country_data_UZB"] = 11000, ["Country_data_Uganda"] = 13000, ["Country_data_Ukraine"] = 72000, ["Country_data_United_Arab_Emirates"] = 19000, ["Country_data_United_Kingdom"] = 88000, ["Country_data_United_Kingdom_of_Great_Britain_and_Ireland"] = 4400, ["Country_data_United_Nations"] = 4000, ["Country_data_United_States"] = 280000, ["Country_data_United_States_of_America"] = 5000, ["Country_data_Uruguay"] = 29000, ["Country_data_Uzbekistan"] = 20000, ["Country_data_VEN"] = 16000, ["Country_data_VIE"] = 6200, ["Country_data_Vanuatu"] = 5000, ["Country_data_Vatican_City"] = 2300, ["Country_data_Venezuela"] = 32000, ["Country_data_Vietnam"] = 23000, ["Country_data_Virginia"] = 2900, ["Country_data_WAL"] = 17000, ["Country_data_Wales"] = 33000, ["Country_data_Washington"] = 3400, ["Country_data_Washington,_D.C."] = 2200, ["Country_data_Washington_(state)"] = 3700, ["Country_data_West_Germany"] = 24000, ["Country_data_West_Indies"] = 2600, ["Country_data_Wisconsin"] = 5300, ["Country_data_YUG"] = 9700, ["Country_data_Yemen"] = 7700, ["Country_data_Yugoslavia"] = 18000, ["Country_data_ZAF"] = 4600, ["Country_data_ZAM"] = 3200, ["Country_data_ZIM"] = 8200, ["Country_data_Zambia"] = 9500, ["Country_data_Zimbabwe"] = 17000, ["Country_flagbio"] = 27000, ["Country_name"] = 23000, ["Country_showdata"] = 6100, ["Country_topics"] = 22000, ["County"] = 6500, ["County_(judet)_of_Romania"] = 3300, ["Course_assignment"] = 4200, ["Course_details"] = 6100, ["Course_instructor"] = 2400, ["Cquote"] = 37000, ["Cr"] = 4200, ["Cr-rt"] = 2000, ["Create_taxonomy/link"] = 106000, ["Cref2"] = 2300, ["Cricinfo"] = 24000, ["Cricketarchive"] = 2900, ["Crime_opentask"] = 48000, ["Croatian_Census_2011"] = 2100, ["Cross"] = 3200, ["Crossreference"] = 2500, ["Crossreference/styles.css"] = 2500, ["Csv"] = 3000, ["Ct"] = 12000, ["Curlie"] = 6800, ["Currency"] = 3500, ["Current_events"] = 8200, ["Current_events/styles.css"] = 8200, ["Currentdate"] = 22000, ["Cvt"] = 101000, ["Cycling_Archives"] = 4300, ["Cycling_archives"] = 2600, ["Cycling_data_LTS"] = 2100, ["Cycling_team_link"] = 12000, ["Module:CFB_schedule"] = 26000, ["Module:CallAssert"] = 240000, ["Module:CanElecResTopTest"] = 5700, ["Module:CanadaByProvinceCatNav"] = 9800, ["Module:Cat_main"] = 197000, ["Module:Catalog_lookup_link"] = 513000, ["Module:Category_described_in_year"] = 5700, ["Module:Category_described_in_year/conf"] = 5700, ["Module:Category_handler"] = 4410000, ["Module:Category_handler/blacklist"] = 4410000, ["Module:Category_handler/config"] = 4410000, ["Module:Category_handler/data"] = 4410000, ["Module:Category_handler/shared"] = 4410000, ["Module:Category_more_if_exists"] = 41000, ["Module:Category_pair"] = 6100, ["Module:Category_see_also"] = 39000, ["Module:Celestial_object_quadrangle"] = 2300, ["Module:Check_DYK_hook"] = 114000, ["Module:Check_for_clobbered_parameters"] = 1200000, ["Module:Check_for_deprecated_parameters"] = 59000, ["Module:Check_for_unknown_parameters"] = 15900000, ["Module:Check_isxn"] = 480000, ["Module:Check_winner_by_scores"] = 13000, ["Module:Checkuser"] = 75000, ["Module:Chem2"] = 4500, ["Module:Chem2/styles.css"] = 4500, ["Module:Citation/CS1"] = 5540000, ["Module:Citation/CS1/COinS"] = 5540000, ["Module:Citation/CS1/Configuration"] = 5540000, ["Module:Citation/CS1/Date_validation"] = 5540000, ["Module:Citation/CS1/Identifiers"] = 5540000, ["Module:Citation/CS1/Suggestions"] = 26000, ["Module:Citation/CS1/Utilities"] = 5540000, ["Module:Citation/CS1/Whitelist"] = 5540000, ["Module:Citation/CS1/styles.css"] = 5680000, ["Module:Cite_Q"] = 43000, ["Module:Cite_iucn"] = 57000, ["Module:Cite_tweet"] = 35000, ["Module:Cite_web"] = 39000, ["Module:Clade"] = 7500, ["Module:Class"] = 8910000, ["Module:Class/definition.json"] = 8910000, ["Module:Class/styles.css"] = 8840000, ["Module:Class_mask"] = 10100000, ["Module:Clickable_button_2"] = 952000, ["Module:Collapsible_list"] = 54000, ["Module:College_color"] = 126000, ["Module:College_color/data"] = 126000, ["Module:Color_contrast"] = 498000, ["Module:Color_contrast/colors"] = 500000, ["Module:Commons_link"] = 254000, ["Module:Complex_date"] = 65000, ["Module:Convert"] = 1220000, ["Module:Convert/data"] = 1220000, ["Module:Convert/helper"] = 8300, ["Module:Convert/text"] = 1220000, ["Module:Convert/wikidata"] = 3300, ["Module:Convert/wikidata/data"] = 3300, ["Module:ConvertNumeric"] = 15000, ["Module:Convert_character_width"] = 2800, ["Module:Convert_character_width/data"] = 2800, ["Module:Coordinates"] = 1330000, ["Module:Coordinates/styles.css"] = 1330000, ["Module:Copied"] = 18000, ["Module:CountryAdjectiveDemonym"] = 44000, ["Module:CountryAdjectiveDemonym/Adjectives"] = 44000, ["Module:CountryAdjectiveDemonym/Demonyms"] = 44000, ["Module:CountryAdjectiveDemonym/The"] = 44000, ["Module:CountryData"] = 142000, ["Module:CountryData/cacheA"] = 12000, ["Module:CountryData/cacheB"] = 8200, ["Module:CountryData/cacheC"] = 12000, ["Module:CountryData/cacheD"] = 4500, ["Module:CountryData/cacheE"] = 2700, ["Module:CountryData/cacheF"] = 2600, ["Module:CountryData/cacheG"] = 2700, ["Module:CountryData/summary"] = 142000, ["Module:Country_adjective"] = 4300, ["Module:Country_alias"] = 51000, ["Module:Country_alias/data"] = 51000, ["Module:Currency"] = 3500, ["Module:Currency/Presentation"] = 3500, } 1c16dd4710f362248710a05753cec4c42caf3bee 10 179 1067 1066 2023-06-09T18:10:25Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Template_shortcut]] wikitext text/x-wiki <includeonly>{{#invoke:Shortcut|main|template=yes}}</includeonly><noinclude>{{Documentation}}</noinclude> bfb2889c4c0ec36294b7b667f5e03350d2df680e 10 180 1069 1068 2023-06-09T18:10:26Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Template_redirect]] wikitext text/x-wiki <includeonly>{{#invoke:Shortcut|main|template=yes|redirect=yes}}</includeonly><noinclude>{{Documentation}}</noinclude> ec5365d4636ace45dd2b6b23308dc97a0b73a7ad 10 181 1071 1070 2023-06-09T18:10:27Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Inline_cleanup_tags]] wikitext text/x-wiki {{Navbox | name = Inline cleanup tags | state = {{{state<includeonly>|autocollapse</includeonly>}}} | bodyclass = hlist | title = Inline cleanup tags | evenodd = off | group1 = Attribution | list1 = * {{tl|According to whom}} * {{tl|Attribution needed}} * {{tl|By whom}} * {{tl|From whom?}} * {{tl|Like whom?}} * {{tl|To whom?}} * {{tl|Who}} * {{tl|With whom}} | group2 = Clarity | list2 = * {{tl|Ambiguous}} * {{tl|Clarify}} * {{tl|Clarify span}} * {{tl|Clarify timeframe}} * {{tl|Context inline}} * {{tl|Expand acronym}} * {{tl|Incomprehensible inline}} * {{tl|Incomprehensible span}} * {{tl|Non sequitur}} * {{tl|Sentence fragment}} * {{tl|Which calendar}} | group3 = Miscellaneous | list3 = * {{tl|Chinese script needed inline}} * {{tl|Copyright violation}} * {{tl|Copyvio link}} * {{tl|Data missing}} * {{tl|Disambiguation needed}} * {{tl|External links inline}} * {{tl|Improve caption}} * {{tl|Needs IPA}} * {{tl|Original research inline}} * {{tl|Original research span}} * {{tl|Pronunciation needed}} * {{tl|Script needed inline}} * {{tl|Spam link}} * {{tl|Synthesis inline}} * {{tl|Synthesis span}} * {{tl|Under discussion inline}} * {{tl|Verify spelling}} * {{tl|Whose translation}} | group4 = Neutrality | list4 = * {{tl|Buzzword inline}} * {{tl|Compared to?}} * {{tl|Editorializing}} * {{tl|Fact or opinion}} * {{tl|Opinion}} * {{tl|Peacock inline}} * {{tl|POV statement}} * {{tl|Promotion inline}} * {{tl|Unbalanced opinion}} * {{tl|Weasel inline}} * {{tl|Weasel word some span}} | group5 = Precision | list5 = {{Navbox |child | evenodd = off | list1 = * {{tl|By how much}} * {{tl|Definition}} * {{tl|Definition needed}} * {{tl|Example needed}} * {{tl|Example needed span}} * {{tl|Explain}} * {{tl|How}} * {{tl|How often}} * {{tl|Misquoted}} * {{tl|Quantify}} * {{tl|Specify}} * {{tl|Vague}} * {{tl|When}} * {{tl|Where}} * {{tl|Which}} * {{tl|Who else}} * {{tl|Why}} * {{tl|Year needed}} | group2 = Excessive | list2 = * {{tl|Duplication span}} * {{tl|Importance inline}} * {{tl|Relevance inline}} * {{tl|Undue weight inline}} * {{tl|Globalize inline}} }} | group6 = Time-sensitivity | list6 = * {{tl|Anachronism inline}} * {{tl|Clarify timeframe}} * {{tl|Current event inline}} * {{tl|Is this date calibrated?}} * {{tl|Update after}} * {{tl|Update inline}} * {{tl|Update span}} | group7 = Verifiability | list7 = {{Navbox|child | evenodd = off | group1 = Dubious | list1 = * {{tl|Contradictory inline}} * {{tl|Disputed inline}} * {{tl|Dubious}} * {{tl|Dubious span}} * {{tl|Inconsistent}} * {{tl|Needs independent confirmation}} * {{tl|Speculation inline}} | group2 = [[WP:Bare URLs|Bare URLs]] | list2 = * {{tl|Bare URL inline}} * {{tl|Bare URL non-HTML}} * {{tl|Bare URL AV media}} * {{tl|Bare URL PDF}} * {{tl|Bare URL image}} * {{tl|Bare URL DOC}} * {{tl|Bare URL plain text}} * {{tl|Bare URL spreadsheet}} | group3 = Incomplete or<br />broken citation | list3 = * {{tl|Author incomplete}} * {{tl|Author missing}} * {{tl|Date missing}} * {{tl|Dead link}} * {{tl|Edition needed}} * {{tl|Episode needed}} * {{tl|Full citation needed}} * {{tl|Incomplete short citation}} * {{tl|ISBN missing}} * {{tl|Moved resource}} * {{tl|Page needed}} * {{tl|Place missing}} * {{tl|Publisher missing}} * {{tl|Season needed}} * {{tl|Time needed}} * {{tl|Title incomplete}} * {{tl|Title missing}} * {{tl|Volume needed}} * {{tl|Year missing}} | group4 = Missing or<br />problematic<br />reference | list4 = * {{tl|Additional citation needed}} * {{tl|Better source needed}} * {{tl|Better source needed example}} * {{tl|Check quotation}} * {{tl|Chronology citation needed}} * {{tl|Citation needed}} * {{tl|Citation needed span}} * {{tl|Citation not found}} * {{tl|COI source}} * {{tl|Deprecated inline}} * {{tl|Excessive citations inline}} * {{tl|Failed verification}} * {{tl|Failed verification span}} * {{tl|Image reference needed}} * {{tl|Irrelevant citation}} * {{tl|Medical citation needed}} * {{tl|Medical citation needed span}} * {{tl|Nonspecific}} * {{tl|Not verified in body}} * {{tl|Obsolete source}} * {{tl|Page range too broad}} * {{tl|Primary source inline}} * {{tl|Promotional source}} * {{tl|Quote without source}} * {{tl|Request quotation}} * {{tl|Request quotation span}} * {{tl|Retracted}} * {{tl|Scientific citation needed}} * {{tl|Self-published inline}} * {{tl|Tertiary source inline}} * {{tl|Third-party inline}} * {{tl|Unreliable fringe source}} * {{tl|Unreliable medical source}} * {{tl|Unreliable source?}} * {{tl|Verify quote}} * {{tl|Verify source}} }} | group8 = Wording | list8 = * {{tl|Buzzword inline}} * {{tl|Colloquialism}} * {{tl|Copy edit inline}} * {{tl|Neologism inline}} * {{tl|Technical inline}} * {{tl|Tone inline}} | group9 = General advice | list9 = * [[Wikipedia:Citing sources|Citing sources]] * [[Wikipedia:Reliable sources|Reliable sources]] * [[Help:Maintenance template removal |Maintenance template removal]] * [[Wikipedia:Citation needed|Citation needed]] * [[Help:Find sources|Find sources]] * [[Wikipedia:Combining sources|Combining sources]] * [[Help:Overview of referencing styles|Referencing styles]] | belowstyle = font-weight:bold; | below = * {{icon|Category}} {{c|Inline cleanup templates}} * {{icon link|WikiProject|Wikipedia:WikiProject Inline Templates|WikiProject Inline Templates}} }}<noinclude> {{documentation}} </noinclude> 1c74feb116e3356efb70dd57280e873636fb34ca 828 182 1073 1072 2023-06-09T18:10:28Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Message_box/ombox.css]] text text/plain /* {{pp|small=y}} */ .ombox { margin: 4px 0; border-collapse: collapse; border: 1px solid #a2a9b1; /* Default "notice" gray */ background-color: #f8f9fa; box-sizing: border-box; } /* For the "small=yes" option. */ .ombox.mbox-small { font-size: 88%; line-height: 1.25em; } .ombox-speedy { border: 2px solid #b32424; /* Red */ background-color: #fee7e6; /* Pink */ } .ombox-delete { border: 2px solid #b32424; /* Red */ } .ombox-content { border: 1px solid #f28500; /* Orange */ } .ombox-style { border: 1px solid #fc3; /* Yellow */ } .ombox-move { border: 1px solid #9932cc; /* Purple */ } .ombox-protection { border: 2px solid #a2a9b1; /* Gray-gold */ } .ombox .mbox-text { border: none; /* @noflip */ padding: 0.25em 0.9em; width: 100%; } .ombox .mbox-image { border: none; /* @noflip */ padding: 2px 0 2px 0.9em; text-align: center; } .ombox .mbox-imageright { border: none; /* @noflip */ padding: 2px 0.9em 2px 0; text-align: center; } /* An empty narrow cell */ .ombox .mbox-empty-cell { border: none; padding: 0; width: 1px; } .ombox .mbox-invalid-type { text-align: center; } @media (min-width: 720px) { .ombox { margin: 4px 10%; } .ombox.mbox-small { /* @noflip */ clear: right; /* @noflip */ float: right; /* @noflip */ margin: 4px 0 4px 1em; width: 238px; } } 8fe3df4bb607e699eab2dbd23bd4a1a446391002 10 183 1075 1074 2023-06-09T18:10:29Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Citation_needed/doc]] wikitext text/x-wiki {{Documentation subpage}} {{Redirect|Template:Proveit|the template about the referencing gadget|Template:User ProveIt}} {{High-use}} {{Notice|An introductory version of this documentation is provided at [[Wikipedia:Citation needed]].}} {{Template shortcut|cn|facts|uncited|citeneeded}} {{Template redirect|citationneeded|reference needed}} <noinclude>{{pp-semi-indef}}<!--persistent vandalism from anon users--></noinclude> {{Tl|Citation needed}} is a [[Wikipedia:Template messages|template]] used to identify claims in articles, particularly if questionable, that need a [[Wikipedia:Citing sources|citation]] to a [[WP:Reliable sources|reliable source]]. This template produces the superscripted message&nbsp;{{citation needed|date=May 2013|reason=example}} and is installed with no spaces directly after punctuation. == Use == :{{tnull|Citation needed|date{{=}}{{CURRENTMONTHNAME}} {{CURRENTYEAR}}}} :{{tnull|Citation needed|date{{=}}{{CURRENTMONTHNAME}} {{CURRENTYEAR}}|reason{{=}}''Your explanation here''}} === Notes === * The {{para|date}} parameter consists of the full English name of the current month (with initial capital and rest lowercase), a space, and the year. For example, "{{xt|January 2013}}" but not "{{!xt|jan13}}" or "{{!xt|January 23, 2013}}". Deviation from this rule will place the article in [[:Category:Articles with invalid date parameter in template]]. ** To automatically add the current date, you can use [[Help:Substitution|substitution]] like this: <code><nowiki>{{subst:Citation needed}}</nowiki></code>. ** If the {{para|date}} parameter is not given, a [[Wikipedia:Bots|bot]] will soon add it ([[User:AnomieBOT|AnomieBOT]]'s TagDater task) but it's better if you add it yourself to avoid an extra edit to the article's history. * The {{para|reason}} parameter is for an explanation why you think the material needs a source. It is optional but very helpful. It is displayed as a [[tooltip]] in some browsers (hover the mouse here {{Citation needed|reason=If and only if this text is displayed, the reason parameter is working in your browser|date={{currentmonth}} {{currentyear}}}} to check behaviour of your browser). For example, the following usage might be appropriate to the claim that "Humphrey Bogart was an avid snooker player": <br> {{tnull|Citation needed|reason{{=}}This claim needs a reliable source; Bogart was a famous actor but his major biographies don't mention snooker.|date{{=}}{{CURRENTMONTHNAME}} {{CURRENTYEAR}}}} ** Use only [[plain text]] for the {{para|reason}} parameter. It does not support [[Help:Wiki markup|wiki markup]] like wikilinks, which can mess up the tooltip. ** Double quotation marks used within the {{para|reason}} parameter will likewise mess up the tooltip; use single quotes or the HTML code <code>&amp;quot;</code> instead. ** If omitted, the tooltip "This claim needs references to reliable sources." is used by default. * This template should usually be installed directly ''after'' punctuation, such as a full stop (period) or a comma. * Use of this template places the article into [[:Category:All articles with unsourced statements]] and [[:Category:Articles with unsourced statements from {{CURRENTMONTHNAME}} {{CURRENTYEAR}}]] (example; past months are listed in [[:Category:Articles with unsourced statements]]). * Remove the template when you add a citation for a statement. == Examples == === Example 1 === :<code><nowiki>This sentence shows the template used at the end.{{Citation needed|reason=Reliable source needed for the whole sentence|date=</nowiki>{{CURRENTMONTHNAME}} {{CURRENTYEAR}}}}</code> This wikitext will be rendered as follows: :This sentence shows the template used at the end.{{Citation needed|reason=Reliable source needed for the whole sentence|date={{CURRENTMONTHNAME}} {{CURRENTYEAR}}}} === Example 2 === :<code><nowiki>[[Humphrey Bogart]] was an avid snooker player.{{Citation needed|date=</nowiki>{{currentmonth}} {{currentyear}}}}</code> The template indicates that it may be that Humphrey Bogart played snooker at some point and it may be that he was enthusiastic about the game but no ''reliable'', ''published'' sources were given to verify it and the information is not considered [[common knowledge]]. :[[Humphrey Bogart]] was an avid snooker player.{{Citation needed|date={{currentmonth}} {{currentyear}}}} === Example 3 === If it is considered that he might have played snooker but was not an avid player, a reason for the need of a citation may be given, displayed as a tooltip when the mouse hovers on "citation needed": :<code><nowiki>[[Humphrey Bogart]] was an avid snooker player.{{Citation needed|date=</nowiki>{{CURRENTMONTHNAME}} {{CURRENTYEAR}}|reason=Only aware he was photographed playing once. Not aware of any source that claims he played a lot.}}</code> :[[Humphrey Bogart]] was an avid snooker player.{{Citation needed|date={{CURRENTMONTHNAME}} {{CURRENTYEAR}}|reason=Only aware he was photographed playing once. Not aware of any source that claims he played a lot.}} In this example, it may be better to use the {{tl|Citation needed span}}, which has slightly different syntax, template to highlight the word "avid". == When not to use this template == Contentious material about [[Wikipedia:Biographies of living persons|living persons]] that is unsourced or poorly sourced should be '''removed immediately'''. Do not tag it; immediately remove it. This includes material that is disparaging, misrepresentative, insulting, harmful, or possibly [[libelous]]. For some policy about this, see the sections [[Wikipedia:Biographies of living persons#Remove contentious material that is unsourced or poorly sourced|"Remove contentious material that is unsourced or poorly sourced"]] at [[Wikipedia:Biographies of living persons]] and [[Wikipedia:Verifiability#Burden of evidence|"Burden of evidence"]] at [[Wikipedia:Verifiability]]. The <nowiki>{{Citation needed}}</nowiki> template is intended for use when there is a general question of the verifiability of a statement, or when an editor believes that a reference verifying the statement should be provided. Other templates are available for other or more specific issues; see the [[#Inline templates|list of inline templates]]. For example, claims that you think are incorrect should be tagged with {{Tl|Dubious}}, and those which represent a non-neutral view should be tagged with {{Tl|POV statement}}. Being specific about the nature of the problem will help other editors correct it. Within a [[Wikipedia:lead section|lead section]] that is clearly written as a summary of a substantially sourced article, * statements that are supported with citations within the body of the article should not be tagged, * statements that are not supported in the article body should be tagged with {{tl|Not verified in body}}. If you have the time and ability to find an authoritative reference, please do so. Then add the citation yourself, or correct the article text. After all, the ultimate goal is not to merely identify problems, but to fix them. While an editor may add this template to any uncited passage for any reason, many editors object to what they perceive as overuse of this tag, particularly in what is known as "[[drive-by]]" tagging, which is applying the tag without attempting to address the issues at all. Consider whether adding this tag in an article is the best approach before using it, and use it judiciously. Wikipedia's [[WP:Verifiability|verifiability policy]] requires neither reliable sources for [[Common knowledge|common well-known facts]] (e.g., "the Moon orbits the Earth"), nor that citations be repeated through every sentence in a paragraph. All direct quotations and facts whose accuracy might be challenged (e.g., statistics) require citations. See [[WP:MINREF]] for the list of material that is absolutely required to be followed by an [[Wikipedia:Inline citation|inline citation]], rather than a [[Wikipedia:General references|general reference]] or no citation at all. Also note that the [[WP:BURDEN|burden of evidence]] lies with the editor who adds or restores material. This template is intended for specific passages that need citation. For entire articles or sections that contain significant material lacking citations (rather than just specific short passages), there are other, more appropriate templates, such as {{Tl|Unreferenced}} and {{Tl|More citations needed}} (for whole articles) as well as {{Tl|Unreferenced section}} and {{Tl|More citations needed section}} (for sections of articles). Do not use this template to tag policies or guidelines. == How to respond to this tag == The addition of this tag is a request for an inline citation to support the tagged statement. If you are able to provide a citation to support the claim, then please do so. Except for [[WP:Biographies of living persons|contentious claims about living people]], which should be immediately removed if not cited, there is no specific deadline for providing citations. Please do not delete information that you believe is correct solely because no one has provided a citation within an arbitrary time limit. If there is some uncertainty about its accuracy, most editors are willing to wait at least a month to see whether a citation can be provided. == Template data == {{TemplateData header}} <templatedata> { "description": "The template is used to identify claims in articles, particularly if questionable, that lack a citation to a reliable source.", "params": { "date": { "label": "Month and year", "description": "Provides the month and year of the citation request; e.g., 'January 2013', but not 'jan13'", "type": "string", "autovalue": "{{subst:CURRENTMONTHNAME}} {{subst:CURRENTYEAR}}", "suggested": true }, "reason": { "label": "Reason for citation", "description": "A reason as to why, or for what content, the citation is needed; use single quotes, if any", "type": "string" } } } </templatedata> == Tracking categories == * {{clc|Pages containing citation needed template with unsupported parameters}} – a hidden maintenance/tracking category which is added to pages using this template with unsupported parameters * {{clc|All articles with unsourced statements}} == See also == * [[Citation needed]], Wikipedia's mainspace article about this template * [[Template:Not verified in body]], a similar template specifically for the lead of articles * [[Template:Medical citation needed]] * [[Template:More citations needed]] * [[Wikipedia:Citing sources]], especially [[Wikipedia:Citing sources#Unsourced material|Unsourced material]] * [[Wikipedia:Reliable sources]] * [[Wikipedia:Template index/Cleanup#Verifiability and sources]] * [[Wikipedia:Template index/Sources of articles]] * [[Wikipedia:Verifiability]] === Article message box templates === * {{Tl|Cite check}}: article or section may have inappropriate or misinterpreted citations. * {{Tl|More citations needed}}: article or section has weak or incomplete sources, references, or citations. * {{Tl|Unreferenced}} and {{Tl|Unreferenced section}}: article or section has no sources, references, or citations given at all. * Citation method and style ** {{Tl|Citation style}} ** {{Tl|No footnotes}} {{Inline cleanup tags}} <includeonly>{{Sandbox other|| <!-- Template categories --> [[Category:Inline citation and verifiability dispute templates]] [[Category:Templates that add a tracking category]] }}</includeonly> 2603d8512dbca78c1af33dbb8f45984575256cd5 10 184 1077 1076 2023-06-09T18:10:30Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Plainlist/styles.css]] text text/plain /* {{pp-template|small=yes}} */ .plainlist ol, .plainlist ul { line-height: inherit; list-style: none; margin: 0; padding: 0; /* Reset Minerva default */ } .plainlist ol li, .plainlist ul li { margin-bottom: 0; } 51706efa229ff8794c0d94f260a208e7c5e6ec30 828 185 1079 1078 2023-06-09T18:10:30Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Shortcut/styles.css]] text text/plain /* {{pp-template}} */ .module-shortcutboxplain { float: right; margin: 0 0 0 1em; border: 1px solid #aaa; background: #fff; padding: 0.3em 0.6em 0.2em 0.6em; text-align: center; font-size: 85%; } .module-shortcutboxleft { float: left; margin: 0 1em 0 0; } .module-shortcutlist { display: inline-block; border-bottom: 1px solid #aaa; margin-bottom: 0.2em; } .module-shortcutboxplain ul { font-weight: bold; } .module-shortcutanchordiv { position: relative; top: -3em; } li .module-shortcutanchordiv { float: right; /* IE/Edge in list items */ } .mbox-imageright .module-shortcutboxplain { padding: 0.4em 1em 0.4em 1em; line-height: 1.3; margin: 0; } ccf3877e4b14726147d3b1d8a297fbecacdb2cf8 10 186 1081 1080 2023-06-09T18:10:31Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Hlist/styles.css]] text text/plain /* {{pp-protected|reason=match parent|small=yes}} */ /* * hlist styles are defined in core and Minerva and differ in Minerva. The * current definitions here (2023-01-01) are sufficient to override Minerva * without use of the hlist-separated class. The most problematic styles were * related to margin, padding, and the bullet. Check files listed at * [[MediaWiki talk:Common.css/to do#hlist-separated]] */ /* * TODO: When the majority of readership supports it (or some beautiful world * in which grade C support is above the minimum threshold), use :is() */ .hlist dl, .hlist ol, .hlist ul { margin: 0; padding: 0; } /* Display list items inline */ .hlist dd, .hlist dt, .hlist li { /* * don't trust the note that says margin doesn't work with inline * removing margin: 0 makes dds have margins again * We also want to reset margin-right in Minerva */ margin: 0; display: inline; } /* Display requested top-level lists inline */ .hlist.inline, .hlist.inline dl, .hlist.inline ol, .hlist.inline ul, /* Display nested lists inline */ .hlist dl dl, .hlist dl ol, .hlist dl ul, .hlist ol dl, .hlist ol ol, .hlist ol ul, .hlist ul dl, .hlist ul ol, .hlist ul ul { display: inline; } /* Hide empty list items */ .hlist .mw-empty-li { display: none; } /* TODO: :not() can maybe be used here to remove the later rule. naive test * seems to work. more testing needed. like so: *.hlist dt:not(:last-child)::after { * content: ": "; *} *.hlist dd:not(:last-child)::after, *.hlist li:not(:last-child)::after { * content: " · "; * font-weight: bold; *} */ /* Generate interpuncts */ .hlist dt::after { content: ": "; } .hlist dd::after, .hlist li::after { content: " · "; font-weight: bold; } .hlist dd:last-child::after, .hlist dt:last-child::after, .hlist li:last-child::after { content: none; } /* Add parentheses around nested lists */ .hlist dd dd:first-child::before, .hlist dd dt:first-child::before, .hlist dd li:first-child::before, .hlist dt dd:first-child::before, .hlist dt dt:first-child::before, .hlist dt li:first-child::before, .hlist li dd:first-child::before, .hlist li dt:first-child::before, .hlist li li:first-child::before { content: " ("; font-weight: normal; } .hlist dd dd:last-child::after, .hlist dd dt:last-child::after, .hlist dd li:last-child::after, .hlist dt dd:last-child::after, .hlist dt dt:last-child::after, .hlist dt li:last-child::after, .hlist li dd:last-child::after, .hlist li dt:last-child::after, .hlist li li:last-child::after { content: ")"; font-weight: normal; } /* Put ordinals in front of ordered list items */ .hlist ol { counter-reset: listitem; } .hlist ol > li { counter-increment: listitem; } .hlist ol > li::before { content: " " counter(listitem) "\a0"; } .hlist dd ol > li:first-child::before, .hlist dt ol > li:first-child::before, .hlist li ol > li:first-child::before { content: " (" counter(listitem) "\a0"; } 8c9dd9c9c00f30eead17fe10f51d183333e81f33 0 51 1082 903 2023-06-09T18:14:19Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue {{Citation needed|date=November 2020}} is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> f17c913e45911864b682e8eb05a807947bc7b7dd 1083 1082 2023-06-09T18:14:49Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue {{Citation needed|}} is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> d8c1b06eac276d48cef80e631dc2f061d41f4862 1085 1083 2023-06-09T18:17:44Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> 85edf4aa7f9be6437c5f353a925477b45d244abe 1144 1085 2023-06-09T18:24:43Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue {{Note:|label|text}} at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> 335336a023e4389eb2ea0efd49657b8e406a8368 1145 1144 2023-06-09T18:25:16Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue {{Note|label|text}} at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> d2408571b68aab7b79d80bf13d115a76724027d6 1146 1145 2023-06-09T18:26:15Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue {{note|id|label|text}} at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> 673be75be5d84e9cad59559708691b97ba3d060d 1147 1146 2023-06-09T18:26:53Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue {{note|id|a|hello}} at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> 803ac6f5f8db21ff2ec786de5857587a00b9e42f 1148 1147 2023-06-09T18:38:18Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue {{note|id|a|hello}} is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> b4f977fa417bcb6b2ea88c732cdac4e010582a4c 1149 1148 2023-06-09T19:47:24Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity(CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> These demands came out around the same time as several lawsuits against TCU for discrimination. <ref>https://www.nbcdfw.com/news/local/tcu-accused-of-harassing-black-honors-student-in-federal-lawsuit/2296554/</ref><ref>https://www.nbcdfw.com/news/local/lawsuit-filed-against-tcu-alleges-civil-rights-violations-and-discrimination/2298098/</ref> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> c35236a62100ea76298495749d6eadce0acfc2c0 1150 1149 2023-06-09T19:48:43Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue is a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity (CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> These demands came out around the same time as several lawsuits against TCU for discrimination. <ref>https://www.nbcdfw.com/news/local/tcu-accused-of-harassing-black-honors-student-in-federal-lawsuit/2296554/</ref><ref>https://www.nbcdfw.com/news/local/lawsuit-filed-against-tcu-alleges-civil-rights-violations-and-discrimination/2298098/</ref> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> 1f1fc2a4ebd07fb310469d977112b84860fe4282 10 187 1084 2023-06-09T18:15:51Z Matrim112830 2 Created blank page wikitext text/x-wiki da39a3ee5e6b4b0d3255bfef95601890afd80709 10 188 1087 1086 2023-06-09T18:20:11Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Note]] wikitext text/x-wiki <noinclude>{{Distinguish|Template:A note}} </noinclude><templatestyles src="Citation/styles.css"/><span class="citation wikicite" id="endnote_{{{1}}}"><b>[[#ref_{{{1}}}|^{{{2|}}}]]</b>{{#if:{{{3|}}}|&#32;{{{3|}}}}}</span> <noinclude> {{Documentation|Template:Ref/doc}} <!-- Add categories and interwikis to the /doc subpage, not here! --> </noinclude> 3e7c5f334738e9999492f0295e6b3806bd51e921 10 189 1089 1088 2023-06-09T18:20:16Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Plain_link]] wikitext text/x-wiki <span class="plainlinks">{{SAFESUBST:<noinclude />#if:{{{2|{{{NAME|{{{name|}}}}}}}}} |[{{{1|{{{URL|{{{url}}}}}}}}} {{{2|{{{NAME|{{{name|}}}}}}}}}] |[{{{1|{{{URL|{{{url}}}}}}}}}] }}</span><noinclude> {{documentation}} </noinclude> 2730384491e116ee2f16e9ceed1cb23b7bb148a0 10 190 1091 1090 2023-06-09T18:20:16Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Reflist]] wikitext text/x-wiki <templatestyles src="Reflist/styles.css" /><div class="reflist <!-- -->{{#if:{{{1|}}}{{{colwidth|}}}|reflist-columns references-column-width}} <!-- -->{{#switch:{{{liststyle|{{{group|}}}}}}|upper-alpha|upper-roman|lower-alpha|lower-greek|lower-roman=reflist-{{{liststyle|{{{group}}}}}}}} <!-- -->{{#if:{{{1|}}}|{{#iferror:{{#ifexpr: {{{1|1}}} > 1 }}||{{#switch:{{{1|}}}|1=|2=reflist-columns-2|#default=reflist-columns-3}} }}}}" <!-- end class -->{{#if: {{{1|}}}<!-- start style --> | {{#iferror: {{#ifexpr: {{{1|1}}} > 1 }} |style="column-width: {{{1}}};"}} | {{#if: {{{colwidth|}}}|style="column-width: {{{colwidth}}};"}} }}> {{#tag:references|{{{refs|}}}|group={{{group|}}}|responsive={{#if:{{{1|}}}{{{colwidth|}}}|0|1}}}}</div>{{#invoke:Check for unknown parameters|check|unknown={{main other|[[Category:Pages using reflist with unknown parameters|_VALUE_{{PAGENAME}}]]}}|preview=Page using [[Template:Reflist]] with unknown parameter "_VALUE_"|ignoreblank=y| 1 | colwidth | group | liststyle | refs }}<noinclude> {{Documentation}} </noinclude> 8c65cc88272db6c0f5cf2b49f84d3e460e60ee5f 10 191 1093 1092 2023-06-09T18:20:16Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Reflist/styles.css]] text text/plain /* {{pp|small=yes}} */ /* can we remove the font size declarations? .references gets a font-size in * common.css that is always 90, and there is nothing else in reflist out in * the wild. 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[[Template:Citation]], like all CS1/2 * templates, is styled from [[Module:Citation/CS1/styles.css]], *not* here. */ /* Break long urls, etc., rather than overflowing box */ .citation { word-wrap: break-word; } /* Highlight linked elements (such as clicked references) in blue */ .citation:target { /* ignore the linter - all browsers of interest implement this */ background-color: rgba(0, 127, 255, 0.133); } bacf3990bce8f9ff2b2a21769b624fcedd099d26 10 197 1105 1104 2023-06-09T18:20:24Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Ref_label]] wikitext text/x-wiki <{{#ifeq:yes|{{yesno|def=|{{{sub|}}}}}|sub|sup}} class="reference" {{#ifeq:{{{noid}}}|noid||id="ref_{{{1}}}{{{3|}}}"}}>[[#endnote_{{{1}}}{{{3|}}}|[{{{2}}}]]]</{{#ifeq:yes|{{yesno|def=|{{{sub|}}}}}|sub|sup}}><noinclude> {{Documentation|Template:Ref/doc}} <!-- Add categories and interwikis to the /doc subpage, not here! --> </noinclude> 6629d71b85bb6a53f2de636f29a475db8d57d887 10 198 1107 1106 2023-06-09T18:20:25Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Documentation/styles.css]] text text/plain /* {{pp|small=yes}} */ .documentation, .documentation-metadata { border: 1px solid #a2a9b1; background-color: #ecfcf4; clear: both; } .documentation { margin: 1em 0 0 0; padding: 1em; } .documentation-metadata { margin: 0.2em 0; /* same margin left-right as .documentation */ font-style: italic; padding: 0.4em 1em; /* same padding left-right as .documentation */ } .documentation-startbox { padding-bottom: 3px; border-bottom: 1px solid #aaa; margin-bottom: 1ex; } .documentation-heading { font-weight: bold; font-size: 125%; } .documentation-clear { /* Don't want things to stick out where they shouldn't. */ clear: both; } .documentation-toolbar { font-style: normal; font-size: 85%; } ce0e629c92e3d825ab9fd927fe6cc37d9117b6cb 10 199 1109 1108 2023-06-09T18:20:26Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Ref]] wikitext text/x-wiki <sup class="reference plainlinks nourlexpansion" {{#ifeq:{{{noid}}}|noid||id="ref_{{{1}}}"}}>{{#if:{{{2|}}}|[[#endnote_{{{1}}}|{{{2}}}]]|[{{fullurl:{{FULLPAGENAME}}}}#endnote_{{anchorencode:{{{1|}}}}}]}}</sup><noinclude> {{documentation}} <!-- Add categories and interwikis to the /doc subpage, not here! --> </noinclude> fdbf1a14e8a8cd8cfd4434e43244061f18769de7 10 200 1111 1110 2023-06-09T18:20:26Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Note_label]] wikitext text/x-wiki <templatestyles src="Citation/styles.css"/><span class="citation wikicite" id="{{anchorencode:endnote_{{{1}}}{{{3|}}}}}">{{#if:{{{3|}}} |[[#ref_{{{1}}}{{{3}}}|'''^{{{#ifeq:none|{{{3|none}}} |^ |{{{3|}}} }}}''']] |^{{{2|}}} }}{{#if:{{{4|}}}| {{{4|}}}}}</span> <noinclude> {{Documentation|Template:Ref/doc}} <!-- Add categories and interwikis to the /doc subpage, not here! --> </noinclude> aa5c95efb75b70055c1be163f5fc4df8c5e57faf 10 201 1113 1112 2023-06-09T18:20:27Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Template_link_code]] wikitext text/x-wiki <includeonly>{{#Invoke:Template link general|main|nolink=yes|code=yes|nowrap=yes}}</includeonly><noinclude> {{Documentation|1=Template:Tlg/doc |content = {{tlg/doc|tlc}} }} <!-- Add categories to the /doc subpage, not here! --> </noinclude> 044f00ca1bfc10cb967c32e893043ccc6f739764 10 202 1115 1114 2023-06-09T18:20:27Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Tlp]] wikitext text/x-wiki #REDIRECT [[Template:Template link with parameters]] {{R from move}} 3867e4ef4fe637ce8530859b5486b23e916d0b8a 10 203 1117 1116 2023-06-09T18:20:28Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Template_link_with_parameters]] wikitext text/x-wiki <includeonly>{{#Invoke:Template link general|main|nowrap=yes}}</includeonly><noinclude> {{Documentation|1=Template:Tlg/doc |content = {{tlg/doc|tlp}} }} <!-- Add categories to the /doc subpage, not here! --> </noinclude> 8fe73a6eea633360a927820d10469b7292bfc1c2 10 204 1119 1118 2023-06-09T18:20:28Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Tld]] wikitext text/x-wiki #REDIRECT [[Template:Template link code]] be5d6275ea41d83224503e05901f3405c82141f7 10 205 1121 1120 2023-06-09T18:20:28Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Template_link_with_link_off]] wikitext text/x-wiki <includeonly>{{#Invoke:Template link general|main|nowrap=yes|nolink=yes}}</includeonly><noinclude> {{Documentation|1=Template:Tlg/doc |content = {{tlg/doc|tlf}} }} <!-- Add categories to the /doc subpage, not here! --> </noinclude> b099fea5d1f36b0b4b9cb253ad3a9f4e095f6851 10 206 1123 1122 2023-06-09T18:20:29Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Tlf]] wikitext text/x-wiki #REDIRECT [[Template:Template link with link off]] {{Redirect category shell| {{R from move}} }} 52759e1d3f7c9aa4a03d0b7d4f84f4c6adf53edf 10 207 1125 1124 2023-06-09T18:20:29Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Template]] wikitext text/x-wiki #REDIRECT [[Template:Template link]] fb9a6b420e13178e581af6e7d64274cd30a79017 10 208 1127 1126 2023-06-09T18:20:29Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Fake_heading]] wikitext text/x-wiki {{main other |1={{error|Per [[WP:PSEUDOHEADING]] fake headings should not be used in articles.}}[[Category:Pages with templates in the wrong namespace]] |2=<div style="color: #000000; background: none; overflow: hidden; page-break-after: avoid; {{#switch: {{{level|{{{sub|}}}}}} | 1 = font-size: 1.8em; font-family: 'Linux Libertine',Georgia,Times,serif; margin-top: 1em; margin-bottom: 0.25em; line-height: 1.3; padding: 0; border-bottom: 1px solid #AAAAAA; | 2 | #default = font-size: 1.5em; font-family: 'Linux Libertine',Georgia,Times,serif; margin-top: 1em; margin-bottom: 0.25em; line-height: 1.3; padding: 0; border-bottom: 1px solid #AAAAAA; | 3 = font-size: 1.17em; font-weight: bold; margin-top: 0.3em; margin-bottom: 0; line-height: 1.6; padding-top: 0.5em; padding-bottom: 0; | 4 = font-size: 100%; font-weight: bold; margin-top: 0.3em; margin-bottom: 0; line-height: 1.6; padding-top: 0.5em; padding-bottom: 0; | 5 = font-size: 100%; font-weight: bold; margin-top: 0.3em; margin-bottom: 0; line-height: 1.6; padding-top: 0.5em; padding-bottom: 0; | 6 = font-size: 100%; font-weight: bold; margin-top: 0.3em; margin-bottom: 0; line-height: 1.6; padding-top: 0.5em; padding-bottom: 0; }}">{{{1|Section}}}</div>}}<noinclude> {{documentation}} <!-- Categories go on the /doc subpage and interwikis go on Wikidata. --> </noinclude> 8e1e8edde45ee6c22d12ef7a33e2eea83e1d5ac2 10 209 1129 1128 2023-06-09T18:20:30Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Wikipedia_referencing]] wikitext text/x-wiki {{navbox | name = Wikipedia referencing | state = {{{state<includeonly>|{{{1|autocollapse}}}</includeonly>}}} | bodyclass = hlist | title = [[Wikipedia:Verifiability|Wikipedia referencing]] | group1 = Policies and guidelines | list1 = * [[Wikipedia:Verifiability|Verifiability]] * [[Wikipedia:No original research|No original research]] * [[Wikipedia:Biographies of living persons|Biographies of living persons]] * [[Wikipedia:Reliable sources|Reliable sources]] ** [[Wikipedia:Identifying reliable sources (medicine)|Medicine]] * [[Wikipedia:Citing sources|Citing sources]] * [[Wikipedia:Scientific citation guidelines|Scientific citations]] | group2 = General advice | list2 = * [[Wikipedia:Citation needed|Citation needed]] * [[Help:Find sources|Find sources]] * [[Wikipedia:Combining sources|Combining sources]] * [[Wikipedia:Offline sources|Offline sources]] * [[Help:Overview of referencing styles|Referencing styles]] | group3 = [[Wikipedia:Citing sources|Citing sources]] | list3 = * [[Help:Citation Style 1|Citation Style 1]] * [[Help:Citation Style 2|Citation Style 2]] * [[Help:Citation Style Vancouver|Citation Style Vancouver]] * [[:Category:LSA style citation templates|LSA]] * [[:Category:Comics citation templates|Comics]] * [[Wikipedia:Citation templates|Citation templates]] * [[Template:Reflist|Reflist template]] | group4 = [[Wikipedia:Inline citation|Inline citations]] | list4 = * [[Help:Footnotes|Footnotes]] * [[Wikipedia:Manual of Style#Punctuation and footnotes|Punctuation and footnotes]] * [[Help:Shortened footnotes|Shortened footnotes]] * [[Wikipedia:Nesting footnotes|Nesting footnotes]] | group5 = [[Help:Referencing for beginners|Help for beginners]] | list5 = * [[Help:Reftags|Reference-tags]] * [[Help:Citations quick reference|Citations quick reference]] * [[Help:Introduction to referencing with Wiki Markup/1|Introduction to referencing]] * [[Help:Referencing for beginners with citation templates|Referencing with citation templates]] * [[Help:Referencing for beginners without using templates|Referencing without using templates]] * [[Wikipedia:References dos and don'ts|Referencing dos and don'ts]] * [[Wikipedia:Citing Wikipedia|Citing Wikipedia]] | group6 = Advanced help | list6 = * [[Help:Cite link labels|Cite link labels]] * [[Help:Citation tools|Citation tools]] * [[Help:Cite errors|Cite errors]] * [[Help:Cite messages|Cite messages]] * [[Help:Converting between references formats|Converting between references formats]] * [[Help:Reference display customization|Reference display customization]] * [[Help:References and page numbers|References and page numbers]] * [[Wikipedia:Guidance on source reviewing at FAC|Guidance on source reviewing at FAC]] | group7 = Template documentation | list7 = * {{tl|Edit refs}} * {{tl|Refref}} * {{tl|Refref2}} * {{tl|Refstart}} | group8 = Tools | list8 = * [[Wikipedia:The Wikipedia Library|Wikipedia Library]] | group9 = [[Deprecation|Deprecated]] | list9 = * [[Wikipedia:Parenthetical referencing|Parenthetical referencing]] }}<noinclude> {{Documentation}} </noinclude> f7f6e9d798b1d51bdca2dd3a3b6e8e2f7518ef7a 10 210 1131 1130 2023-06-09T18:20:30Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Uses_TemplateStyles]] wikitext text/x-wiki <includeonly>{{#invoke:Uses TemplateStyles|main}}</includeonly><noinclude>{{documentation}} <!-- Categories go on the /doc subpage and interwikis go on Wikidata. --> </noinclude> 60f2fc73c4d69b292455879f9fcb3c68f6c63c2a 10 211 1133 1132 2023-06-09T18:20:31Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Message_box/ombox.css]] text text/plain /* {{pp|small=y}} */ .ombox { margin: 4px 0; border-collapse: collapse; border: 1px solid #a2a9b1; /* Default "notice" gray */ background-color: #f8f9fa; box-sizing: border-box; } /* For the "small=yes" option. */ .ombox.mbox-small { font-size: 88%; line-height: 1.25em; } .ombox-speedy { border: 2px solid #b32424; /* Red */ background-color: #fee7e6; /* Pink */ } .ombox-delete { border: 2px solid #b32424; /* Red */ } .ombox-content { border: 1px solid #f28500; /* Orange */ } .ombox-style { border: 1px solid #fc3; /* Yellow */ } .ombox-move { border: 1px solid #9932cc; /* Purple */ } .ombox-protection { border: 2px solid #a2a9b1; /* Gray-gold */ } .ombox .mbox-text { border: none; /* @noflip */ padding: 0.25em 0.9em; width: 100%; } .ombox .mbox-image { border: none; /* @noflip */ padding: 2px 0 2px 0.9em; text-align: center; } .ombox .mbox-imageright { border: none; /* @noflip */ padding: 2px 0.9em 2px 0; text-align: center; } /* An empty narrow cell */ .ombox .mbox-empty-cell { border: none; padding: 0; width: 1px; } .ombox .mbox-invalid-type { text-align: center; } @media (min-width: 720px) { .ombox { margin: 4px 10%; } .ombox.mbox-small { /* @noflip */ clear: right; /* @noflip */ float: right; /* @noflip */ margin: 4px 0 4px 1em; width: 238px; } } 8fe3df4bb607e699eab2dbd23bd4a1a446391002 10 212 1135 1134 2023-06-09T18:20:32Z Matrim112830 2 1 revision imported from [[:wikipedia:Template:Ref/doc]] wikitext text/x-wiki {{#switch:{{NAMESPACE}}:{{ROOTPAGENAME}} |Template:Note= {{Distinguish|Template:A note|Template:Memo{{!}}Template:Memo <small>(Template:NoteBox)</small>|Template:Notice}} }} {{Documentation subpage}} <!-- Add categories where indicated at the bottom of this page and interwikis at Wikidata --> {{Notice|image=Stop hand nuvola.svg|'''This is {{plain link|url=//en.wikipedia.org/w/index.php?title=Wikipedia:Footnote3&diff=41876751&oldid=41331534|name=no longer}} the recommended method of citing sources.''' If a note list separate from the list of references is desired, {{tl|refn}} and {{tl|efn}} may be used.<br /> For information on how to place and format citations, see [[Wikipedia:Citing sources]].<br /> An explanation on how to create 'numbered footnotes' is at [[Help:Footnotes]].}} {{Uses TemplateStyles|Template:Citation/styles.css}} This documentation is for the {{tl|ref}}, {{tl|note}}, {{tl|ref label}} and {{tl|note label}} templates. The ''note'' templates place notes into an article, and the ''ref'' templates place labeled references to the notes, with the labels normally hyperlinks for navigating from a ref to a corresponding note and back from the note to the ref. The ''label'' pair of templates are similar to the pair without the ''label'' name, but with more features. The links and backlinks are identified internally by combining the specified parameters. The templates accepts a number of unnamed parameters identified by their position. It also accepts a named parameter (named ''noid'') which is deprecated since its introduction. The first parameter of {{tl|ref}} is a label that has to be used for the parameter of the corresponding {{tl|note}}. The label is used to form the fragment identifier for the footnote link and back link. The second parameter of {{tlf|ref}} is the footnote reference marker, shown as a superscript. The easiest choice is to make these two the same, but this is not a requirement. If the second parameter is not supplied, the marker is a superscripted external link of the form [''n'']. ==Syntax== The following illustrates the general syntax of each template: * {{tlp|code=on|ref|''id''|''label''|noid{{=}}noid}} * {{tlp|code=on|note|''id''|''label''|''text''}} * {{tlp|code=on|ref label|''id''|''label''|''backlink''|noid{{=}}noid}} * {{tlp|code=on|note label|''id''|''label''|''backlink''|''text''}} Description of each parameter is as follows: ===''id''=== Identifier for a note and its back link (mandatory). This is the only mandatory parameter for a {{tld|ref}} and {{tld|note}} couple, which can be used to add simple footnotes. '''Important note:''' Every pair of {{tld|ref}} and {{tld|note}}, as well as every pair of {{tld|ref label}} and {{tld|note label}}, should have unique identifiers. This applies even if multiple references pointing to the same footnote are desired. ('''Correct method of implementing this feature – using the ''label'' parameter – is illustrated further below.''') Duplicate identifiers generate invalid code, to which web browsers react differently. Some browsers report errors, while others may randomly keep one ''id'' and discard others silently. In all cases, however, navigation between some footnote marks and their body texts does not work as desired. See [[Help:Markup validation]]. {| class=wikitable |+ Example of ''id'' !Code !Result |- |<syntaxhighlight lang="wikitext"> Text that requires a footnote.{{ref|a}} ==Notes== :1.{{note|a}}Body of the footnote. </syntaxhighlight> |Text that requires a footnote.{{ref|a}} {{Fake heading|Notes}} :1.{{note|a}}Body of the footnote. |} ===''label''=== Label text displayed where these templates are inserted (mandatory for {{tld|ref label}} and {{tld|note label}}). The following explains template specific behavior: *In {{tld|ref}}, {{tld|ref label}} and {{tld|note label}}, the label appears in [[superscript]]; in {{tld|note}}, the label appears as standard-sized baseline bold text. *In {{tld|ref}}, {{tld|ref label}} and {{tld|note}}, the label is also hyperlinked and helps navigating back and forth between the inline footnote marker (in the prose) and its body text. {{tld|note label}}, however, does not attach a hyperlink to the label but disregards this parameter when the ''backlink'' parameter (explained later) is present. *In {{tld|ref label}}, the label is always enclosed in brackets. {| class=wikitable |+ Example of ''label'' !Code !Result |- |<syntaxhighlight lang="wikitext"> Text alpha.{{ref|Alpha|α}} Text beta.{{ref label|Beta|β}} ==Notes== :{{note|Alpha|α}} Information on alpha :{{note label|Beta|β}} Information on beta </syntaxhighlight> | Text alpha.{{ref|Alpha|α}} Text beta.{{ref label|Beta|β}} {{Fake heading|Notes}} :{{note|Alpha|α}} Information on alpha :{{note label|Beta|β}} Information on beta |} This parameter is optional in {{tld|ref}} and {{tld|note}}, therefore: *{{tld|ref}} displays a unique number in square brackets if this parameter is omitted. (See example above.) *{{tld|note}} appends this label to a back linked [[caret]] (^), so if omitted, only a caret is displayed. (See example above.) There is no mandate to include this parameter in both ref and note portion at the same time. In fact, there may be the need to do the opposite. This example shows how to use {{tld|ref}} and {{tld|note}} to link multiple footnote markers of the same appearance to the same footnote. {| class=wikitable style="width:100%;" |+ Example of ''label'': Many to one connection ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> ... The reunification project started in 1959 and concluded in 1961. The outcome of the project was instrumental in the company's success.{{ref|Lewinsky1|A}} ... ... The consolidation efforts in 1992 had a huge impact on the company's success.{{ref|Lewinsky2|A}} ... ... The final development stage set the cornerstone for company's future activities.{{ref|LewinskyFinal|A}}... ==Notes== :A.{{note|Lewinsky1}}{{note|Lewinsky2}}{{note|LewinskyFinal}}See Brown, Lewinsky and Hart, 2009. </syntaxhighlight> |... The reunification project started in 1959 and concluded in 1961. The outcome of the project was instrumental in the company's success.{{ref|Lewinsky1|A}} ... ... The consolidation efforts in 1992 had a huge impact on the company's success.{{ref|Lewinsky2|A}} ... ... The final development stage set the cornerstone for company's future activities.{{ref|LewinskyFinal|A}}... {{Fake heading|Notes}} :A.{{note|Lewinsky1}}{{note|Lewinsky2}}{{note|LewinskyFinal}}See Brown, Lewinsky and Hart, 2009. |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> ... The reunification project started in 1959 and concluded in 1961. The outcome of the project was instrumental in the company's success.{{ref label|Brown1|B}} ... ... The consolidation efforts in 1992 had a huge impact on the company's success.{{ref label|Brown2|B}} ... ... The final development stage set the cornerstone for company's future activities.{{ref label|BrownLast|B}}... ==Notes== :B.{{note label|Brown1|^}}{{note label|Brown2|^}}{{note label|BrownLast|^}}See Brown, Lewinsky and Hart, 2009. </syntaxhighlight> |... The reunification project started in 1959 and concluded in 1961. The outcome of the project was instrumental in the company's success.{{ref label|Brown1|B}} ... ... The consolidation efforts in 1992 had a huge impact on the company's success.{{ref label|Brown2|B}} ... ... The final development stage set the cornerstone for company's future activities.{{ref label|BrownLast|B}}.. {{Fake heading|Notes}} :B.{{note label|Brown1|^}}{{note label|Brown2|^}}{{note label|BrownLast|^}}See Brown, Lewinsky and Hart, 2009. |} ===''backlink''=== As explained above, {{tld|note label}} does not generate a back link from ''label'' parameter. A unique parameter of {{tld|ref label}} – {{tld|note label}}, ''backlink'' is a complementary parameter that is part ''id'' and part ''label'': *"Complementary parameter" means a {{tld|ref label}} – {{tld|note label}} pair may either forgo this parameter or must both have it. *"Part ''id''" means in a {{tld|ref label}} – {{tld|note label}} pair, both ends must have the same ''backlink'' value. In addition, in any {{tld|ref label}} – {{tld|note label}} pair, the combination of ''id'' and ''backlink'' must be unique. *"Part ''label''" means in {{tld|note label}}, this parameter completely overrides ''label'' parameter. A {{tld|ref label}} with a ''backlink'' cannot connect to a {{tld|note}}. Likewise, a {{tld|note label}} with a ''backlink'' cannot connect to a {{tld|ref}}. Example: {| class=wikitable |+ Example of ''backlink'' ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> Some text.{{ref label|id5|5|1}} Some other text.{{ref label|id5|5|2}} ----- ... :5.{{note label|id5||1}}{{note label|id5||2}} Some important comment! </syntaxhighlight> | Some text.{{ref label|id5|5|1}} Some other text.{{ref label|id5|5|2}} ----- ... :5.{{note label|id5||1}}{{note label|id5||2}} Some important comment! |} This parameter (''backlink'') also accepts the special value "none" (without quotation marks), which causes a caret to appear where {{tld|note label}} is placed. {| class=wikitable |+ Example of ''backlink'' set to "none" ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> Body text.{{ref label|id4|Label 4|none}} :{{note label|id4||none}}Footnote text </syntaxhighlight> | Body text.{{ref label|id4|Label 4|none}} :{{note label|id4||none}}Footnote text |} ===''text''=== In all previous examples, the body text of a piece of footnote was inserted outside {{tld|note}} or {{tld|note label}} template. However, it is possible to insert the body text inside the template, in place of ''text'' parameter. Everything put inside ''text'' parameter glows when the user clicks on the footnote mark. In the example below, try clicking on ^S and ^T and see the difference. {| class=wikitable style="width:100%;" |+ Example of ''text'' ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> Some text.{{ref|noteS|S}} Some other text.{{ref|noteT|T}} ==Notes== :S.{{note|noteS}}Some footnote text :T.{{note|noteT||Some other footnote text}} </syntaxhighlight> |Some text.{{ref|noteS|S}} Some other text.{{ref|noteT|T}} {{Fake heading|notes}} :S.{{note|noteS}}Some footnote text :T.{{note|noteT||Some other footnote text}} |} Since the footnote body text starts without a delimiter after this string, there is a caveat: If the footnote body text starts with a lowercase letter, the first word may be attached to the back link. (For more info, see [[Help:Wikilinks]].) {| class=wikitable |+ Example of ''backlink'' bug ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> :{{ref label|id ref2a|Label 2a|Back}} :{{ref label|id ref2b|Label 2b|Back}} :{{note label|id ref2a|Label 2a|Back|Capitalized footnote}} :{{note label|id ref2b|Label 2b|Back|lower case footnote}} </syntaxhighlight> | :{{ref label|id ref2a|Label 2a|Back}} :{{ref label|id ref2b|Label 2b|Back}} :{{note label|id ref2a|Label 2a|Back|Capitalized footnote}} :{{note label|id ref2b|Label 2b|Back|lower case footnote}} |} ===noid=noid=== '''Deprecated parameter''' – Suppresses back linking from note component to ref. In case of {{tld|note}}, an active hyperlink still appears, although it is broken. This parameter was originally meant to alleviate the problem of connecting many ref tags with the same ID to one note tag with that ID. However, it only replaces one form of broken code with another. Consider using {{tld|note label}} instead, which does not generate any back link unless configured to do so. There must always be one and only one note template for every ref template with the same ''id''. ==Additional examples== {| class=wikitable |+ Additional examples ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> Article text{{ref label|reference_name_A|a|1}} more text{{ref label|reference_name_G|g|}} more text{{ref label|reference_name_B|b|2}} more text{{ref label|reference_name_C|c|3}} more text{{ref label|reference name_D|d|4}} more text{{ref label|reference name_E|e|none}} more text{{ref label|reference name_F|f|}} more text.{{ref label|reference_name_H|h|8}} * * intervening text * * {{note label|reference_name_A|a|1}}Text of note for ref a. * {{note label|reference_name_B|b|2}}Text of note for ref b. * {{note label|reference_name_C|c|3|ABCDE}}Text of note for ref c. * {{note label|reference_name_D|d|4|FGHIJ}}Text of note for ref d. * {{note label|reference_name_E|e|none}}Text of note for ref e. * {{note label|reference_name_F|f}}Text of note for ref f. * {{note label|reference_name_G|g||{{note label|reference_name_H|h|8|Text of note for refs g and h (with extended highlighting).}}}} </syntaxhighlight > | Article text{{ref label|reference_name_A|a|1}} more text{{ref label|reference_name_G|g|}} more text{{ref label|reference_name_B|b|2}} more text{{ref label|reference_name_C|c|3}} more text{{ref label|reference name_D|d|4}} more text{{ref label|reference name_E|e|none}} more text{{ref label|reference name_F|f|}} more text.{{ref label|reference_name_H|h|8}} * *intervening text * *{{note label|reference_name_A|a|1}}Text of note for ref a. *{{note label|reference_name_B|b|2}}Text of note for ref b. *{{note label|reference_name_C|c|3|ABCDE}}Text of note for ref c. *{{note label|reference_name_D|d|4|FGHIJ}}Text of note for ref d. *{{note label|reference_name_E|e|none}}Text of note for ref e. *{{note label|reference_name_F|f}}Text of note for ref f. *{{note label|reference_name_G|g||{{note label|reference_name_H|h|8|Text of note for refs g and h (with extended highlighting).}}}} |} ===Unique ID issue=== As explained earlier, the ''id'' parameter for every {{tld|ref}} – {{tld|note}} pair should be unique. The following example shows what happens when two refs use the same ''id''. Try navigating from bulleted text to footnotes and back. {| class=wikitable ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;"> Article text{{ref|reference_name_A|a}} more text{{ref|reference_name_B|b}} more text{{ref|reference_name_C|c}}. * Bulleted text{{ref|reference_name_B|b}} * Bulleted text{{ref|reference_name_C|c}}. * * intervening text * * {{note|reference_name_A|a}}Text for note a. * {{note|reference_name_B|b}}Text for note b. * {{note|reference_name_C|c|Text for note c (with extended highlighting).}} </syntaxhighlight> | Article text{{ref|reference_name_A|a}} more text{{ref|reference_name_B|b}} more text.{{ref|reference_name_C|c}} *Bulleted text{{ref|reference_name_B|b}} *Bulleted text{{ref|reference_name_C|c}}. * *intervening text * *{{note|reference_name_A|a}}Text for note a. *{{note|reference_name_B|b}}Text for note b. *{{note|reference_name_C|c|Text for note c (with extended highlighting).}} |} ===Table footnotes=== One common application for ref and note templates is in placing footnotes below tables, as in the following example taken from the [[Kent#Economy]] article [section]: {| class="wikitable" style="text-align:right;" |- ! Year || Regional GVA{{ref label|rounding|A|↑}} ||COLSPAN=2| Agriculture ||COLSPAN=2| Industry{{ref label|energy|B|↑}} ||COLSPAN=2| Services{{ref label|financial|C|↑}} |- |COLSPAN=8 | County of Kent (excluding Medway) |- | 1995 || '''12,369''' || 379 || 3.1% || 3,886 || 31.4% || 8,104 || 65.5% |- | 2000 || '''15,259''' || 259 || 1.7% || 4,601 || 30.2% || 10,399 || 68.1% |- | 2003 || '''18,126''' || 287 || 1.6% || 5,057 || 27.9% || 12,783 || 70.5% |- |COLSPAN=8 | Medway |- | 1995 || '''1,823''' || 21 || 3.1% || 560 || 31.4% || 1,243 || 68.2% |- | 2000 || '''2,348''' || 8 || 1.7% || 745 || 30.2% || 1,595 || 67.9% |- | 2003 || '''2,671''' || 10 || 1.6% || 802 || 27.9% || 1,859 || 69.6% |} <ol type="A"> <li>{{note label|rounding|A|↑|Components may not sum to totals due to rounding}}</li> <li>{{note label|energy|B|↑|Includes energy and construction}}</li> <li>{{note label|financial|C|↑|Includes financial intermediation services indirectly measured}}</li> </ol> ==Alternative referencing style== The [[mw:Reference Tooltips|Reference Tooltips]] gadget does not work with these templates. Using ref/note tags is not the only way to create [[Help:Footnotes|footnotes]]. [[mw:Extension:Cite/Cite.php|Cite.php]] (with which Reference Tooltips does work) is currently the preferred method of creating footnotes, especially when the number of footnotes increases and the size of the article (or the area in which footnotes are used) grows. [[User:Cyde/Ref converter|Ref converter]] can convert ref/note tags to the newer Cite.php style. The following examples compares two method and also shows how they can be combined: {| class=wikitable |+ Additional examples ! style="width:50%;" | Code ! style="width:50%;" | Result |- |<syntaxhighlight lang="wikitext" style="white-space:pre-wrap; word-wrap:break-word;">Yammer yammer yammer.<ref name=smith2000>Smith wrote the definitive book on yammering.{{ref|Smith2000|Smith 2000}}</ref> Yammer yammer yammer.<ref name=smith2000/> ... ==References== {{reflist}} ... ==Bibliography== *{{note|Smith2000}} Smith (2000). "A book about yammering". </syntaxhighlight> | Yammer yammer yammer.<ref name=smith2000>Smith wrote the definitive book on yammering.{{ref|Smith2000|Smith 2000}}</ref> Yammer yammer yammer.<ref name=smith2000/> ... {{fake heading|References}} {{reflist}} ... {{fake heading|Bibliography}} *{{note|Smith2000}} Smith (2000). "A book about yammering". |} Also see examples and explanation in [[Wikipedia:Footnote3]]. ==See also== * [[Wikipedia:Footnote3]], an essay on this method of creating footnotes * [[Help:Footnotes]] * [[Wikipedia:Template messages/Sources of articles]] * [[:Category:Citation templates]], including those not part of the ref–note label system * {{template|Rp}} * [[Template:Ref/examples]] {{Wikipedia referencing}}<includeonly> {{Sandbox other|| <!-- Categories below this line; interwikis at Wikidata --> [[Category:Footnote3 templates]] [[Category:Inline templates]] }}</includeonly> df221013e65703ffb7a4c68b52ea300cb1020f13 828 213 1137 1136 2023-06-09T18:23:14Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Distinguish]] Scribunto text/plain local mHatnote = require('Module:Hatnote') local mHatlist = require('Module:Hatnote list') local mArguments --initialize lazily local mTableTools --initialize lazily local libraryUtil = require('libraryUtil') local checkType = libraryUtil.checkType local p = {} function p.distinguish(frame) mArguments = require('Module:Arguments') mTableTools = require('Module:TableTools') local args = mArguments.getArgs(frame) local selfref = args.selfref local text = args.text args = mTableTools.compressSparseArray(args) return p._distinguish(args, text, selfref) end function p._distinguish(args, text, selfref) checkType("_distinguish", 1, args, 'table') if #args == 0 and not text then return '' end local text = string.format( 'Not to be confused with %s.', text or mHatlist.orList(args, true) ) hnOptions = {selfref = selfref} return mHatnote._hatnote(text, hnOptions) end return p 0364d14af01fc656ad1d898c5036fbd12a7ca938 828 214 1139 1138 2023-06-09T18:23:18Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:TNT]] Scribunto text/plain -- -- INTRO: (!!! DO NOT RENAME THIS PAGE !!!) -- This module allows any template or module to be copy/pasted between -- wikis without any translation changes. All translation text is stored -- in the global Data:*.tab pages on Commons, and used everywhere. -- -- SEE: https://www.mediawiki.org/wiki/Multilingual_Templates_and_Modules -- -- ATTENTION: -- Please do NOT rename this module - it has to be identical on all wikis. -- This code is maintained at https://www.mediawiki.org/wiki/Module:TNT -- Please do not modify it anywhere else, as it may get copied and override your changes. -- Suggestions can be made at https://www.mediawiki.org/wiki/Module_talk:TNT -- -- DESCRIPTION: -- The "msg" function uses a Commons dataset to translate a message -- with a given key (e.g. source-table), plus optional arguments -- to the wiki markup in the current content language. -- Use lang=xx to set language. Example: -- -- {{#invoke:TNT | msg -- | I18n/Template:Graphs.tab <!-- https://commons.wikimedia.org/wiki/Data:I18n/Template:Graphs.tab --> -- | source-table <!-- uses a translation message with id = "source-table" --> -- | param1 }} <!-- optional parameter --> -- -- -- The "doc" function will generate the <templatedata> parameter documentation for templates. -- This way all template parameters can be stored and localized in a single Commons dataset. -- NOTE: "doc" assumes that all documentation is located in Data:Templatedata/* on Commons. -- -- {{#invoke:TNT | doc | Graph:Lines }} -- uses https://commons.wikimedia.org/wiki/Data:Templatedata/Graph:Lines.tab -- if the current page is Template:Graph:Lines/doc -- local p = {} local i18nDataset = 'I18n/Module:TNT.tab' -- Forward declaration of the local functions local sanitizeDataset, loadData, link, formatMessage function p.msg(frame) local dataset, id local params = {} local lang = nil for k, v in pairs(frame.args) do if k == 1 then dataset = mw.text.trim(v) elseif k == 2 then id = mw.text.trim(v) elseif type(k) == 'number' then table.insert(params, mw.text.trim(v)) elseif k == 'lang' and v ~= '_' then lang = mw.text.trim(v) end end return formatMessage(dataset, id, params, lang) end -- Identical to p.msg() above, but used from other lua modules -- Parameters: name of dataset, message key, optional arguments -- Example with 2 params: format('I18n/Module:TNT', 'error_bad_msgkey', 'my-key', 'my-dataset') function p.format(dataset, key, ...) local checkType = require('libraryUtil').checkType checkType('format', 1, dataset, 'string') checkType('format', 2, key, 'string') return formatMessage(dataset, key, {...}) end -- Identical to p.msg() above, but used from other lua modules with the language param -- Parameters: language code, name of dataset, message key, optional arguments -- Example with 2 params: formatInLanguage('es', I18n/Module:TNT', 'error_bad_msgkey', 'my-key', 'my-dataset') function p.formatInLanguage(lang, dataset, key, ...) local checkType = require('libraryUtil').checkType checkType('formatInLanguage', 1, lang, 'string') checkType('formatInLanguage', 2, dataset, 'string') checkType('formatInLanguage', 3, key, 'string') return formatMessage(dataset, key, {...}, lang) end -- Obsolete function that adds a 'c:' prefix to the first param. -- "Sandbox/Sample.tab" -> 'c:Data:Sandbox/Sample.tab' function p.link(frame) return link(frame.args[1]) end function p.doc(frame) local dataset = 'Templatedata/' .. sanitizeDataset(frame.args[1]) return frame:extensionTag('templatedata', p.getTemplateData(dataset)) .. formatMessage(i18nDataset, 'edit_doc', {link(dataset)}) end function p.getTemplateData(dataset) -- TODO: add '_' parameter once lua starts reindexing properly for "all" languages local data = loadData(dataset) local names = {} for _, field in pairs(data.schema.fields) do table.insert(names, field.name) end local params = {} local paramOrder = {} for _, row in pairs(data.data) do local newVal = {} local name = nil for pos, val in pairs(row) do local columnName = names[pos] if columnName == 'name' then name = val else newVal[columnName] = val end end if name then params[name] = newVal table.insert(paramOrder, name) end end -- Work around json encoding treating {"1":{...}} as an [{...}] params['zzz123']='' local json = mw.text.jsonEncode({ params=params, paramOrder=paramOrder, description=data.description }) json = string.gsub(json,'"zzz123":"",?', "") return json end -- Local functions sanitizeDataset = function(dataset) if not dataset then return nil end dataset = mw.text.trim(dataset) if dataset == '' then return nil elseif string.sub(dataset,-4) ~= '.tab' then return dataset .. '.tab' else return dataset end end loadData = function(dataset, lang) dataset = sanitizeDataset(dataset) if not dataset then error(formatMessage(i18nDataset, 'error_no_dataset', {})) end -- Give helpful error to thirdparties who try and copy this module. if not mw.ext or not mw.ext.data or not mw.ext.data.get then error('Missing JsonConfig extension; Cannot load https://commons.wikimedia.org/wiki/Data:' .. dataset) end local data = mw.ext.data.get(dataset, lang) if data == false then if dataset == i18nDataset then -- Prevent cyclical calls error('Missing Commons dataset ' .. i18nDataset) else error(formatMessage(i18nDataset, 'error_bad_dataset', {link(dataset)})) end end return data end -- Given a dataset name, convert it to a title with the 'commons:data:' prefix link = function(dataset) return 'c:Data:' .. mw.text.trim(dataset or '') end formatMessage = function(dataset, key, params, lang) for _, row in pairs(loadData(dataset, lang).data) do local id, msg = unpack(row) if id == key then local result = mw.message.newRawMessage(msg, unpack(params or {})) return result:plain() end end if dataset == i18nDataset then -- Prevent cyclical calls error('Invalid message key "' .. key .. '"') else error(formatMessage(i18nDataset, 'error_bad_msgkey', {key, link(dataset)})) end end return p 9d0d10e54abd232c806dcabccaf03e52858634a1 828 215 1141 1140 2023-06-09T18:23:23Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Uses_TemplateStyles]] Scribunto text/plain local yesno = require('Module:Yesno') local mList = require('Module:List') local mTableTools = require('Module:TableTools') local mMessageBox = require('Module:Message box') local TNT = require('Module:TNT') local p = {} local function format(msg, ...) return TNT.format('I18n/Uses TemplateStyles', msg, ...) end local function getConfig() return mw.loadData('Module:Uses TemplateStyles/config') end local function renderBox(tStyles) local boxArgs = { type = 'notice', small = true, image = string.format('[[File:Farm-Fresh css add.svg|32px|alt=%s]]', format('logo-alt')) } if #tStyles < 1 then boxArgs.text = string.format('<strong class="error">%s</strong>', format('error-emptylist')) else local cfg = getConfig() local tStylesLinks = {} for i, ts in ipairs(tStyles) do local link = string.format('[[:%s]]', ts) local sandboxLink = nil local tsTitle = mw.title.new(ts) if tsTitle and cfg['sandbox_title'] then local tsSandboxTitle = mw.title.new(string.format( '%s:%s/%s/%s', tsTitle.nsText, tsTitle.baseText, cfg['sandbox_title'], tsTitle.subpageText)) if tsSandboxTitle and tsSandboxTitle.exists then sandboxLink = format('sandboxlink', link, ':' .. tsSandboxTitle.prefixedText) end end tStylesLinks[i] = sandboxLink or link end local tStylesList = mList.makeList('bulleted', tStylesLinks) boxArgs.text = format( mw.title.getCurrentTitle():inNamespaces(828,829) and 'header-module' or 'header-template') .. '\n' .. tStylesList end return mMessageBox.main('mbox', boxArgs) end local function renderTrackingCategories(args, tStyles, titleObj) if yesno(args.nocat) then return '' end local cfg = getConfig() local cats = {} -- Error category if #tStyles < 1 and cfg['error_category'] then cats[#cats + 1] = cfg['error_category'] end -- TemplateStyles category titleObj = titleObj or mw.title.getCurrentTitle() if (titleObj.namespace == 10 or titleObj.namespace == 828) and not cfg['subpage_blacklist'][titleObj.subpageText] then local category = args.category or cfg['default_category'] if category then cats[#cats + 1] = category end if not yesno(args.noprotcat) and (cfg['protection_conflict_category'] or cfg['padlock_pattern']) then local currentProt = titleObj.protectionLevels["edit"] and titleObj.protectionLevels["edit"][1] or nil local addedLevelCat = false local addedPadlockCat = false for i, ts in ipairs(tStyles) do local tsTitleObj = mw.title.new(ts) local tsProt = tsTitleObj.protectionLevels["edit"] and tsTitleObj.protectionLevels["edit"][1] or nil if cfg['padlock_pattern'] and tsProt and not addedPadlockCat then local content = tsTitleObj:getContent() if not content:find(cfg['padlock_pattern']) then cats[#cats + 1] = cfg['missing_padlock_category'] addedPadlockCat = true end end if cfg['protection_conflict_category'] and currentProt and tsProt ~= currentProt and not addedLevelCat then currentProt = cfg['protection_hierarchy'][currentProt] or 0 tsProt = cfg['protection_hierarchy'][tsProt] or 0 if tsProt < currentProt then addedLevelCat = true cats[#cats + 1] = cfg['protection_conflict_category'] end end end end end for i, cat in ipairs(cats) do cats[i] = string.format('[[Category:%s]]', cat) end return table.concat(cats) end function p._main(args, cfg) local tStyles = mTableTools.compressSparseArray(args) local box = renderBox(tStyles) local trackingCategories = renderTrackingCategories(args, tStyles) return box .. trackingCategories end function p.main(frame) local origArgs = frame:getParent().args local args = {} for k, v in pairs(origArgs) do v = v:match('^%s*(.-)%s*$') if v ~= '' then args[k] = v end end return p._main(args) end return p 71ca57c37849f38e3c5ee30061bdae730963e48e 828 216 1143 1142 2023-06-09T18:23:24Z Matrim112830 2 1 revision imported from [[:wikipedia:Module:Uses_TemplateStyles/config]] Scribunto text/plain local cfg = {} -- Don’t touch this line. -- Subpage blacklist: these subpages will not be categorized (except for the -- error category, which is always added if there is an error). -- For example “Template:Foo/doc” matches the `doc = true` rule, so it will have -- no categories. “Template:Foo” and “Template:Foo/documentation” match no rules, -- so they *will* have categories. All rules should be in the -- ['<subpage name>'] = true, -- format. cfg['subpage_blacklist'] = { ['doc'] = true, ['sandbox'] = true, ['sandbox2'] = true, ['testcases'] = true, } -- Sandbox title: if the stylesheet’s title is <template>/<stylesheet>.css, the -- stylesheet’s sandbox is expected to be at <template>/<sandbox_title>/<stylesheet>.css -- Set to nil to disable sandbox links. cfg['sandbox_title'] = 'sandbox' -- Error category: this category is added if the module call contains errors -- (e.g. no stylesheet listed). A category name without namespace, or nil -- to disable categorization (not recommended). cfg['error_category'] = 'Uses TemplateStyles templates with errors' -- Default category: this category is added if no custom category is specified -- in module/template call. A category name without namespace, or nil -- to disable categorization. cfg['default_category'] = 'Templates using TemplateStyles' -- Protection conflict category: this category is added if the protection level -- of any stylesheet is lower than the protection level of the template. A category name -- without namespace, or nil to disable categorization (not recommended). cfg['protection_conflict_category'] = 'Templates using TemplateStyles with a different protection level' -- Hierarchy of protection levels, used to determine whether one protection level is lower -- than another and thus should populate protection_conflict_category. No protection is treated as zero cfg['protection_hierarchy'] = { autoconfirmed = 1, extendedconfirmed = 2, templateeditor = 3, sysop = 4 } -- Padlock pattern: Lua pattern to search on protected stylesheets for, or nil -- to disable padlock check. cfg['padlock_pattern'] = '{{pp-' -- Missing padlock category: this category is added if a protected stylesheet -- doesn’t contain any padlock template (specified by the above Lua pattern). -- A category name without namespace (no nil allowed) if the pattern is not nil, -- unused (and thus may be nil) otherwise. cfg['missing_padlock_category'] = 'Templates using TemplateStyles without padlocks' return cfg -- Don’t touch this line. 58e7a37c44f6ea3f6b8af54a559d696cc7256493 0 51 1151 1150 2023-06-16T15:08:19Z Matrim112830 2 wikitext text/x-wiki [[File:Founders Statue.jpg|thumb|A drawing of the back of the Founders Statue at TCU from a zine about the legacy of the confederate monument]] The TCU Founders Statue, a statue depicting confederate soldiers and founders of TCU, Addison and Randolf Clark, was erected in 1993 with funding from Chancellor Emeritus William E. Tucker and his wife, Jean Jones Tucker.<ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref> It was designed and created by Carol Thornton. According to TCU Magazine, "Thornton said she wanted onlookers to take note of the men’s faces and hands." She said, "We want them bigger than life because they were. Students need to look up to them. Addison and Randolph weren’t on their level."<ref>https://magazine.tcu.edu/winter-2013/feature-obit-sculptor-carol-thornton-48/</ref> == Confederate Statue == The statue honors confederate soldiers and could easily be categorized as a "Confederate Monument." Nevertheless the statue remains in a prominent place on campus. (The pedestal of the statue contains the original cornerstone from TCU's beginnings at Thorp Spring.<ref>https://repository.tcu.edu/handle/116099117/59287</ref><ref>https://calendar.tcu.edu/clark_brothers_statue_0</ref><ref>https://repository.tcu.edu/handle/116099117/770</ref>) In language from an audio-tour and also on official TCU websites, TCU asserts: <blockquote> [...] contrary to popular belief, the statue of the Clark Brothers is not a Confederate statue in the strictest sense. More than 1500 Confederate statues and memorials were erected in the years following the failed Reconstruction period, with the bulk being erected between 1900 and 1940. Such statues are adorned with symbolic ornamentation indisputably demarcating such structures as affiliated with the Confederacy. In contrast, the Clark Brothers Statue was erected in 1993 with the intention of honoring and recognizing Addison and Randolph Clark as TCU’s founders. Thus, while the statue neither explicitly, nor expressly, makes any direct connection to the Confederacy, this is not to deny that the Brothers Clark share Confederate ties.<ref>https://familyweekend.tcu.edu/history-traditions-tour/clark-brothers-statue/</ref><ref>https://myatlascms.com/map/accessible.php?id=1185&tId=3744</ref> </blockquote> This appears to be the official findings of the so-called "Race & Reconciliation Initiative" at TCU, according to former RRI Chair, Dr. Frederick W. Gooding, Jr. He said, “The statue was put up in 1993. It was put up to honor the founders, and so while [the initiative] did say that this is not a Confederate statue, we were able to acknowledge the truth that it is indeed a statue of people with Confederate ties.”<ref>https://www.tpr.org/education/2022-03-24/texas-christian-university-digs-into-its-past-with-initiative-studying-slavery-and-racism</ref> But no such references to the monument can be found in the initiatives First-Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-first-year-survey-report.pdf</ref> or Second Year Survey Report<ref>https://www.tcu.edu/race-reconciliation-initiative/files/rri-second-year-survey-report.pdf</ref>. As Jennifer Prohov points out in her 2020 article, "The school does not currently discuss its ties to the Confederacy on the history page of its website.<ref>https://www.wfaa.com/article/news/education/tcu-students-alums-reforms-founder-statue-confederate-removal/287-a319a2df-39c9-47dd-9900-04dc76884133</ref>" <ref>https://www.tcu.edu/about/mission-history.php</ref><ref>https://web.archive.org/web/20190101000000*/https://www.tcu.edu/about/mission-history.php</ref> == Black Lives Matter == In June of 2020, shortly after the killing of George Floyd, TCU students under a group called Coalition for University Justice and Equity (CUJE), responded to a letter from Chancellor Victor Boschini<ref>https://chancellor.tcu.edu/wp-content/uploads/2020/06/Message-from-Chancellor-I-Join-My-Voice-With-Yours.pdf</ref> concerning BLM, asserting that TCU did not support black lives and continued to ignore their demands.<ref>https://cujenow.weebly.com/cuje-news/official-response-to-tcu-blm</ref>. Those demands, posted earlier in February of 2020, called for "substantive changes across TCU that will work to transform the campus climate, advance equity, and realize justice through TCU’s meaningful atonement for its white supremacist, patriarchal, classist and ableist past and present.<ref>https://cujenow.weebly.com/demands.html</ref>" Included in the demands was the following: <blockquote>WE ALSO DEMAND THAT THE FOUNDER’S STATUES BE REMOVED AND REPLACED WITH A PLAQUE THAT EXPLICITLY ACKNOWLEDGES THEIR PARTICIPATION AS CONFEDERATE SOLDIERS IN THE AMERICAN CIVIL WAR. THEIR PARTICIPATION IN THE CONFEDERACY SHOULD ALSO BE MENTIONED IN EVERY OTHER PUBLIC AND WRITTEN HISTORICAL ACKNOWLEDGEMENT AND COMMEMORATION OF THE FOUNDERS, Addison and Randolph Clark. If TCU is truly committed to “examining and understanding” its racist history as stated in response to the recent lawsuit concerning Jane Doe #1, the university must begin with explicitly and publicly acknowledging the racism, classism, and sexism upon which it was founded and has continued to thrive. Likewise, the university must actively commit to dismantling such structures that continue to plague this campus and inhibit the full realization of its mission statement. “Ethical leaders” cannot only “think” about ways to resolve such issues, they must also “act”. “Responsible citizens” cannot only serve those who think and look like themselves, they must extend service to the entire “global community”.<ref>https://cujenow.weebly.com/uploads/1/3/0/6/130629630/final_demands__1_.pdf</ref> </blockquote> These demands came out around the same time as several lawsuits against TCU for discrimination. <ref>https://www.nbcdfw.com/news/local/tcu-accused-of-harassing-black-honors-student-in-federal-lawsuit/2296554/</ref><ref>https://www.nbcdfw.com/news/local/lawsuit-filed-against-tcu-alleges-civil-rights-violations-and-discrimination/2298098/</ref> == Founders Statue Zine == [[File:Founders Statue Zine.pdf|thumb]]<br> TCU was the second to last school in the Southwest Conference to integrate and all of the members of the first Black class left after just a year.<ref>https://tcu360.com/2021/04/23/historical-findings-plans-for-action-announced-at-tcus-first-reconciliation-day/</ref> == Notes == == References == <references/> 6909269efbed2b46a3ba3a3eeb32df52887a34db 0 85 1152 876 2023-07-12T20:23:13Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. ''Gloria Anzaldúa and the Meaning of Queer.'' <i>Bridging</i> edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 1963963f73dd51f8810a25096c37677ef958730f 1153 1152 2023-07-12T20:24:10Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. 'Gloria Anzaldúa and the Meaning of Queer.' <i>Bridging</i> edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> b2f02271ce6d2e2f98d2d44b5c334c4a3356b62b 1154 1153 2023-07-12T20:24:40Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 5e811be1f4d1281ded3d989ee84a26bb5120c7c9 1155 1154 2023-07-12T20:25:09Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 37c0776b8b35955f6d70a25932f1efda2c153bc0 1156 1155 2023-07-20T18:00:53Z Matrim112830 2 wikitext text/x-wiki <table class="noteBoxes type4"> <tr> <td><img src="exclamation-triangle-solid.svg" class="note-box-icon"></td> <td> <p>Deep space exploration is the branch of astronomy, astronautics and space technology.</p> <a href="#">Read more about this.</a> <img src="picture.jpg" width="200"> <p>See also:</p> <ul> <li>Intergalactic travel</li> <li>Interplanetary spaceflight</li> <li>Interstellar travel</li> </ul> </td> </tr> </table> Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 2a6b269fa053035237cee070995e0ae5eafa89d7 1157 1156 2023-07-20T18:02:13Z Matrim112830 2 wikitext text/x-wiki <div class="noteBoxes type3" style="display:flex;"> <img src="exclamation-triangle-solid.svg" class="note-box-icon"> <div> <p>Deep space exploration is the branch of:</p> <ul> <li>astronomy, </li> <li>astronautics,</li> <li>space technology.</li> </ul> <p>It is involved with exploring the distant regions of outer space.</p> </div> </div> Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 79adb3e1c7557e0cae5cafcd3ad9d970939e5192 1158 1157 2023-07-20T18:02:28Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 74934b5f920ebfbf46d64419909426f57ce6ba2a 1159 1158 2023-07-20T18:06:52Z Matrim112830 2 wikitext text/x-wiki <table> <tr> <td>Cell 1</td> <td>Cell 2</td> <td>Cell 3</td> </tr> <tr> <td>Cell 4</td> <td>Cell 5</td> <td>Cell 6</td> </tr> </table> Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 036bc3e02176be63fc1dca3ec226ef4c03a5f5a9 1160 1159 2023-07-20T18:08:07Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 74934b5f920ebfbf46d64419909426f57ce6ba2a 1161 1160 2023-07-20T18:09:45Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" |+ Caption text |- ! Header text |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> a5a547a0b045ed1572b03f4951fc35dbd1e0c16b 1162 1161 2023-07-20T18:12:36Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="text-align: left; color: pink;" |+ Caption text |- ! Header text |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 20e079567c2b7f81b821a080f5f44d0971e22c66 1163 1162 2023-07-20T18:14:32Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background color:#f26fc9;" |+ Caption text |- ! Header text |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 557f34dcfb80c4af41e5b18ef56a13fced970c11 1164 1163 2023-07-20T18:15:14Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;" |+ Caption text |- ! Header text |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> e76240fb5ee3a9d54212e6e45984e35938c7192a 1165 1164 2023-07-20T18:15:46Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;" |- ! Header text |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 53f642458f08aa9a0aca8d081f29a6174d42d71c 1166 1165 2023-07-20T18:16:18Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;" |- ! Header text |- | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 192d46d04f46680dc8cccfb40792778546682e0f 1167 1166 2023-07-20T18:18:11Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;" |- ! Header text |-style="background-color:#f26fc9;" | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> f59f59d554da7ef281968e3d46ad53b594598792 1168 1167 2023-07-20T18:18:28Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;" |-style="background-color:#f26fc9;" ! Header text |- | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 7bee6c7fb4e484e29679db1829fc9922879c52c6 1169 1168 2023-07-20T18:18:54Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;" |- ! Header text style="background-color:#f26fc9;" |- | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 9e327d46b6e885cd255dbcc4a576084dba750a28 1170 1169 2023-07-20T18:19:38Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;" |- ! Header text ! style="background-color:#f26fc9;" |- | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> a0f90eb5b48010a7de1f55ab1bad194b534fa115 1171 1170 2023-07-20T18:20:20Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;" |- ! Header text | style="background-color:#f26fc9;" |- | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> efa8d0c6985618b23409d36ddd9e7c0b8822849f 1172 1171 2023-07-20T18:20:45Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;" |- style="background-color:#f26fc9;" ! Header text | |- | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 1bc1ec390bfca53af0926e6e0b2cb9c5fb122197 1173 1172 2023-07-20T18:21:58Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;" !! style="background-color:#f26fc9;" ! Header text |- | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> d756098ea33d2aa25c42440db16cbecfa3d7b8ce 1174 1173 2023-07-20T18:22:19Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;" ! Header text |- | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 355e2b98d0d441a6663126b60d4910dd254d480a 1175 1174 2023-07-20T18:23:05Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;" |- | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> c4f296223657f7c9813ef57393a45eec15b43199 1176 1175 2023-07-20T18:27:36Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable sortable" style="background-color:#f26fc9;"float:right; margin-left: 10px;" |+ Caption text |- ! Header text |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 7f6a034cae5255ba6487087d1f441a9baf6f0449 1177 1176 2023-07-20T18:28:11Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;"float:right; margin-left: 10px;" |+ Caption text |- ! Header text |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 6bd79c75b0069a411db8bee6f6504c7b518b3244 1178 1177 2023-07-20T18:29:37Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;"float:right; margin-left: 10px;" ! Header text |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 94987af03a13092d279a92e4a797bbb865b55547 1179 1178 2023-07-20T18:29:56Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="background-color:#f26fc9;"float:right; margin-left: 10px;" |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> be1f21c1e93582b32d4ed79dad4e636f5424a1c8 1180 1179 2023-07-20T18:30:13Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. {| class="wikitable" style="background-color:#f26fc9;"float:right; margin-left: 10px;" |- | Example |} <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 0aba1ba59702f061e5e0428b8263065c77f7688e 1181 1180 2023-07-20T18:30:49Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. {| class="wikitable" style="float:right; margin-left: 10px;" |- | Example |} <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> cfaeebb0b8fee0b42adcab84af4429831954f277 1182 1181 2023-07-20T18:32:20Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px;" "style="background-color:f26fc9;" |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> f174f202f4361510203d7869e4611f3e0169850f 1183 1182 2023-07-20T18:32:38Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px;" style="background-color:f26fc9;" |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 986dc270da47fd2ecde19aabd5f42d3ec754a703 1184 1183 2023-07-20T18:33:20Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:f26fc9" |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 389070988acdc1b26654e6bfd4599327556d3119 1185 1184 2023-07-20T18:34:38Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 6120784e882ae42f6701b23378f7689f60341990 1186 1185 2023-07-20T18:36:10Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" ! I don't understand why this isn't pink |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 3823cf9d642cf14842595f28bfe0bf79624ee930 1187 1186 2023-07-20T18:37:36Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" |- I don't understand why this isn't pink | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 2619c9636d106c25a58cbc59cb45c2569fc507f3 1188 1187 2023-07-20T18:37:59Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" | I don't understand why this isn't pink || Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> b397d2f470a566199b9ad0076bc3928b7838610b 1189 1188 2023-07-20T18:38:19Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" |- | I don't understand why this isn't pink || Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 8b8c8a6952ba41a8b0a1735c30ce8dc5e9bc0a43 1190 1189 2023-07-20T18:39:09Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" |- |- I don't understand why this isn't pink | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 08f802a051227b114a90e70cc326eb312d985ef2 1191 1190 2023-07-20T18:39:39Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" |- |- | Example | I don't understand why this isn't pink |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 3d433a70f10e99c80f98cf703edd0d53b9e62072 1192 1191 2023-07-20T18:40:24Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" |- | I don't understand why this isn't pink |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> c82b42b4b3b68b8ac6c0ab9e5fc87d0f77e11ce0 1193 1192 2023-07-20T18:40:43Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" |- | '''I don't understand why this isn't pink''' |- | Example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> b57ad618413f65819e6ec00b6877918d780ff62c 1194 1193 2023-07-20T18:41:52Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" | '''Queer resists definition.'''<br> But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 609bdbd092b8bac2bc2d7e0a40e305961e75d73d 1195 1194 2023-07-20T18:42:08Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" | '''Queer resists definition.''' But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> dbac576a785c39a5ddf78a28cf84b1cb8f27e2df 1196 1195 2023-07-20T18:42:27Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" | '''Queer resists definition.''' But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 30f64af389be735684e2236aebf3c8d08c202703 1197 1196 2023-07-20T18:42:48Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" | '''Queer resists definition.''' But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> b3ac43aa8268d62f3d8f39297ae23314bbc569f8 1198 1197 2023-07-20T18:44:26Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" |- | '''Queer resists definition.''' But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 5e717720723d58a066d4ff3ff82d3804fafe221f 1199 1198 2023-07-20T18:44:54Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" |- | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> f4dbaa80ff45f10806af6212082a7cef9a6d9094 1200 1199 2023-07-20T18:45:11Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" |- | example |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> d9aa85ee74dec14d9e20f5b537c0bf11ea6af8dc 0 85 1201 1200 2023-07-20T18:45:43Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 100px; background-color:#f26fc9" |- | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> b71755f942bf86e1cfddd393f7520b9bd8e6caff 1202 1201 2023-07-20T18:45:56Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 1000px; background-color:#f26fc9" |- | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 5798a20e3734132c8e92fcbe532a9cc6a27b5d9c 1203 1202 2023-07-20T18:46:26Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 1000px; background-color:#f26fc9" |- | Queer |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 1cda1d0e6aa90d637123723360cc5d679e2a0aff 1204 1203 2023-07-20T18:47:18Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" |- | Queer |} <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> f787260dd54d8a22b46eb4ebc74da4b6a5ec3cac 1205 1204 2023-07-20T18:48:49Z Matrim112830 2 wikitext text/x-wiki Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" | Queer |} <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> ac276dc54dc7a88dafdfd9abf3d5599b2b2d28ad 1206 1205 2023-07-20T18:49:23Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" | Queer |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 49657df59caf071ab055458a9d8344179d3987e7 1207 1206 2023-07-20T18:49:43Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9" | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> b24795b84eeaf9d427f7fff79454773fc3cb11eb 1208 1207 2023-07-20T18:51:07Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px;" | Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 3b20cd6c62d7e409634c3a56cc8da4ca23485beb 1209 1208 2023-07-20T18:51:28Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px;" | Queer resists definition. But every time I begin a queer project, |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> bc60219dc33032bb2cde13ebbc589533a53c3c41 1210 1209 2023-07-20T18:52:24Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px;" | Queer resists definition. But every time I begin a queer project, | I find myself compelled to define it. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 00b23fb9532632553725be254c2f19edd1ae1037 1211 1210 2023-07-20T18:58:43Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px;"background-color:#f26fc9;" | Queer resists definition. But every time I begin a queer project, <br> I find myself compelled to define it. I provide some quotes here <br> that I keep going back to. This page might serve as one way to link <br> all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> d167bf73a269255fffea2b21c6a7b6a4b05e8115 1212 1211 2023-07-20T18:59:21Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9;" | Queer resists definition. But every time I begin a queer project, <br> I find myself compelled to define it. I provide some quotes here <br> that I keep going back to. This page might serve as one way to link <br> all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 9ccdeb767d8eb87df5b81cbed6d2537af8c75c4a 1213 1212 2023-07-20T18:59:50Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9;" | Queer resists definition. <br> But every time I begin a queer project, <br> I find myself compelled to define it. I provide some quotes here <br> that I keep going back to. This page might serve as one way to link <br> all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> a8ff8194a0b0fb7cce70f8c9c035a28be324aed6 1214 1213 2023-07-20T19:02:00Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:75%" | Queer resists definition. <br> But every time I begin a queer project, I find myself compelled to define it. I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 259100a22b8a547fb3aa43c30ce15896ce18ad73 1215 1214 2023-07-20T19:02:38Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" | Queer resists definition. <br> But every time I begin a queer project, I find myself compelled to define it. I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 2dd43adfba93cb2c4f89a9af42bc28625f6dce8c 1216 1215 2023-07-20T19:03:43Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" | '''Queer resists definition.''' <br> But every time I begin a queer project, I find myself compelled to define it. I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 9cda1d2722efd8f4434be38e7fa0b6e1c77b35af 1217 1216 2023-07-20T19:05:37Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" |- '''Queer resists definition.''' <br> |- But every time I begin a queer project, I find myself compelled to define it. I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 36a9bb24e9f57a8eefad65c4bb29f8f4c7ff5770 1218 1217 2023-07-20T19:06:38Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" !'''Queer resists definition.''' | But every time I begin a queer project, I find myself compelled to define it. I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 0e7a39373c3b0c2278bb74e0149600f42324c565 1219 1218 2023-07-20T19:07:16Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" | '''Queer resists definition.'''<br> But every time I begin a queer project, I find myself compelled to define it. I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 968b766cb4977b1ab999037adc307a7077e6d9ca 1220 1219 2023-07-20T19:07:43Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" | '''Queer resists definition.'''<br> But every time I begin a queer project, I find myself compelled to define it. I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <br> <br> mw <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 8df2fcb98f452e555bb66b10219d84e8a56b3993 1221 1220 2023-07-20T19:08:03Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" | '''Queer resists definition.'''<br> But every time I begin a queer project, I find myself compelled to define it. I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <br> <br> mw |} Queer resists definition. But every time I begin a queer project, I find myself compelled to define it. I provide some quotes below that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 729492b88cdb368df565a1a618fcb2c8e1f4922a 1222 1221 2023-07-20T19:08:28Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" | '''Queer resists definition.'''<br> But every time I begin a queer project, I find myself compelled to define it. I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <br> <br> mw |} Queer resists definition. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 1b4e2453e9ff9d6418432267e15764a5dc23e10e 1223 1222 2023-07-20T19:09:09Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" | '''Queer resists definition.'''<br> But every time I begin a queer project, I find myself compelled to define the term. (For whom?!) I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <br> <br> mw |} Queer resists definition. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 7d65494a8f0792b7d5a2b4d72eb5199f2020265b 1224 1223 2023-07-20T19:12:17Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%; border-style: solid; border-width: 1px 2px 2px 1px" | '''Queer resists definition.'''<br> But every time I begin a queer project, I find myself compelled to define the term. (For whom?!) I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <br> <br> mw |} Queer resists definition. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 302853999a910120499f3ad2aba3f6117cf0c595 1225 1224 2023-07-20T19:13:20Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%; border-style: solid; border-width: 1px black 2px 2px 1px" | '''Queer resists definition.'''<br> But every time I begin a queer project, I find myself compelled to define the term. (For whom?!) I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <br> <br> mw |} Queer resists definition. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 389309765e73f03b31bf507560a2842fef2dc5a8 1226 1225 2023-07-20T19:14:42Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%; border-left:solid 4px black;border-right:solid 8px black;border-top:solid 4px black;border-bottom:solid 8px black;" | '''Queer resists definition.'''<br> But every time I begin a queer project, I find myself compelled to define the term. (For whom?!) I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <br> <br> mw |} Queer resists definition. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 965c131c12949555f19ab6cc13a81ecc039e63fb 1227 1226 2023-07-20T19:15:22Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%; border-left:solid 2px black;border-right:solid 4px black;border-top:solid 2px black;border-bottom:solid 4px black;" | '''Queer resists definition.'''<br> But every time I begin a queer project, I find myself compelled to define the term. (For whom?!) I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <br> <br> mw |} Queer resists definition. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 0eb753cb3fc847bef89f7ab20bfd3e65d5fe9b26 1228 1227 2023-07-20T19:15:47Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%; border-left:solid 2px;border-right:solid 4px;border-top:solid 2px;border-bottom:solid 4px;" | '''Queer resists definition.'''<br> But every time I begin a queer project, I find myself compelled to define the term. (For whom?!) I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <br> <br> mw |} Queer resists definition. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> fd52b42a613867950d065b73255770a47fcc8054 1229 1228 2023-07-20T19:16:34Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" | '''Queer resists definition.'''<br> But every time I begin a queer project, I find myself compelled to define the term. (For whom?!) I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <br> <br> mw |} Queer resists definition. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 7d65494a8f0792b7d5a2b4d72eb5199f2020265b 1230 1229 2023-07-20T19:57:43Z Matrim112830 2 wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" | '''Queer resists definition.'''<br> But every time I begin a queer project, especially in and around academia, I find myself compelled to define the term. (For whom?!) I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <br> <br> mw |} Queer resists definition. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 4922fecb412a6f2be7e1e6b7d1141ea6b8e330bb 1233 1230 2023-08-28T20:35:12Z Matrim112830 2 /* Perspectives */ wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" | '''Queer resists definition.'''<br> But every time I begin a queer project, especially in and around academia, I find myself compelled to define the term. (For whom?!) I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <br> <br> mw |} Queer resists definition. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ===Eric Stanley=== <blockquote> I am marking queer as the horizon where identity crumbles and vitality is worked otherwise. To this end, queer might be a productive placeholder to name a nonidentity where force is made to live. <ref>Stanley, Eric; Near Life, Queer Death: Overkill and Ontological Capture. "Social Text" 1 June 2011; 29 (2 (107)): p.2. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 94d7f6f4d38f5878f304b9cb6d9700a96e6f3704 1234 1233 2023-08-28T20:47:48Z Matrim112830 2 /* Perspectives */ wikitext text/x-wiki {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" | '''Queer resists definition.'''<br> But every time I begin a queer project, especially in and around academia, I find myself compelled to define the term. (For whom?!) I provide some quotes here that I keep going back to. This page might serve as one way to link all of them without having to copy and paste again and again. <br> <br> mw |} Queer resists definition. <!-- [[User:Matrim112830|Matrim112830]] ([[User talk:Matrim112830|talk]]) 18:34, 31 May 2023 (UTC) --> ==Perspectives== ===Billy Ray Belcourt=== <blockquote> [...] what remains queer about queerness is that it entices us to gamble with the "I" in the name of love, sex, friendship, art, and so forth. There is a twinned horizontality and verticality to queerness that pulls at the self in various directions. It is through this directionlessness, by offering ourselves to it, that we evade acclimatizing to or being seduced by the norms of social legibility and a subject position coded as the bearer of regular life (a dangerous duo). <ref>Belcourt, Billy-Ray. ''A History of My Brief Body: Essays.'' Two Dollar Radio, 2020, p. 101. </ref> </blockquote> ===Héctor Domínguez-Ruvalcaba=== <blockquote> To be queer is not just to be different because the body overcomes, with its relentless imagination, heteronomative identity limitations. Queerness is a power that stems from difference and prevails over homogenous and uniform definitions. Queer imagination can be defined as the process of escaping heterosexual norms, which implies the search for alternative forms of desire and aesthetic values. <ref>Domínguez-Ruvalcaba, Héctor. "Gloria Anzaldúa and the Meaning of Queer." ''Bridging,'' edited by Analouise Keating and Gloria González-López, University of Texas Press, 2011, p. 82. </ref> </blockquote> ===José Esteban Muñoz=== <blockquote> Queerness should and could be about a desire for another way of being both in the world and time, a desire that resists mandates to accept that which is not enough. <ref>Muñoz, José Esteban. ''Cruising Utopia: The Then and There of Queer Futurity''. NYU Press, 2009, p. 96. </ref> </blockquote> <blockquote> Queerness, if it is to have any political resonance, needs to be more than an identitarian marker and articulate a forward-dawning future. The dialectical movement that I am attempting to explicate is the interface between an engagement with the no-longer-conscious and the not-yet-here. <ref>Muñoz, José Esteban. "Cruising the Toilet: LeRoi Jones/Amiri Baraka, Radical Black Traditions, and Queer Futurity." ''GLQ: A journal of Lesbian and Gay Studies,'' vol 13, no. 2-3, 2007, p. 357 </ref> </blockquote> ===Eric Stanley=== <blockquote> I am marking queer as the horizon where identity crumbles and vitality is worked otherwise. To this end, queer might be a productive placeholder to name a nonidentity where force is made to live. <ref>Stanley, Eric. "Near Life, Queer Death: Overkill and Ontological Capture". ''Social Text'' 1 June 2011; 29 (2 (107)): p.2. </ref> </blockquote> ==another heading== == Notes == == References == <references/> 83f795ddcf3018e3f167d5b45d2cc46a697e9de7 0 1 1231 854 2023-07-20T19:59:53Z Matrim112830 2 wikitext text/x-wiki __NOTOC__ [[File:Future Is So Queer in Ukraine.jpg|thumb|Future Is So Queer in Ukraine]] == Welcome to {{SITENAME}}! == This wiki aspires to become a larger collaborative project for archiving queer rhetorics and other queer concepts, events, art, and people that may not be archived elsewhere. Its major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. It started as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU. === Philosophy === Queer Wiki exists as a space for archiving that does not have the same restrictions that Wikipedia has. One of Wikipedia's core content policies is NPOV, the "neutral" point of view. From Wikipedia <blockquote>"All encyclopedic content on Wikipedia must be written from a neutral point of view (NPOV), which means representing fairly, proportionately, and, as far as possible, without editorial bias, all the significant views that have been published by reliable sources on a topic. NPOV is a fundamental principle of Wikipedia and of other Wikimedia projects. It is also one of Wikipedia's three core content policies; the other two are "Verifiability" and "No original research". These policies jointly determine the type and quality of material acceptable in Wikipedia articles, and because they work in harmony, they should not be interpreted in isolation from one another. Editors are strongly encouraged to familiarize themselves with all three. This policy is non-negotiable, and the principles upon which it is based cannot be superseded by other policies or guidelines, nor by editor consensus." <ref>https://en.wikipedia.org/wiki/Wikipedia:Neutral_point_of_view</ref> </blockquote> {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" | '''Notes'''<br> These queer assertions might be part of the text of the wikipage, or in footnotes or links, or new ways such as these little pink notes <br> <br> mw |} QWiki not only questions the possibility of the neutral state, but asserts a QPOV. It asserts no need for "verification" per se, and invites original thought and inquiry. === All Pages === [[Special:AllPages]] === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, and thank you for visiting this wiki. We are still in the process of developing pages, but feel free to browse or contribute.[[disidentification]] == References == <references/> 2a101dad36eae7fbf47145b8248a0c9d92de9481 1232 1231 2023-08-01T17:13:19Z Matrim112830 2 wikitext text/x-wiki __NOTOC__ [[File:Future Is So Queer in Ukraine.jpg|thumb|Future Is So Queer in Ukraine]] == Welcome to {{SITENAME}}! == This wiki aspires to become a larger collaborative project for archiving queer rhetorics and other queer concepts, events, art, and people that may not be archived elsewhere. Its major work, perhaps, is to replace gaps and silences that exist in the present, past, and future public archives with queer records. It started as part of the coursework for [[WRIT 30243.074 (75487)]], Rhetorical Practices in Culture: Queer Rhetorics, an upper division undergraduate level course at TCU. === Philosophy === Queer Wiki exists as a space for archiving that does not have the same restrictions that Wikipedia has. One of Wikipedia's core content policies is NPOV, the "neutral" point of view. From Wikipedia <blockquote>"All encyclopedic content on Wikipedia must be written from a neutral point of view (NPOV), which means representing fairly, proportionately, and, as far as possible, without editorial bias, all the significant views that have been published by reliable sources on a topic. NPOV is a fundamental principle of Wikipedia and of other Wikimedia projects. It is also one of Wikipedia's three core content policies; the other two are "Verifiability" and "No original research". These policies jointly determine the type and quality of material acceptable in Wikipedia articles, and because they work in harmony, they should not be interpreted in isolation from one another. Editors are strongly encouraged to familiarize themselves with all three. This policy is non-negotiable, and the principles upon which it is based cannot be superseded by other policies or guidelines, nor by editor consensus." <ref>https://en.wikipedia.org/wiki/Wikipedia:Neutral_point_of_view</ref> </blockquote> {| class="wikitable" style="float:right; margin-left: 10px; background-color:#f26fc9; width:25%" | '''Note on Asserting'''<br> These queer "assertions" might be part of the text of the wikipage, or in footnotes or links, or new ways such as these little pink notes. <br> <br> mw |} QWiki not only questions the possibility of the neutral state, but asserts a QPOV. It asserts no need for "verification" per se, and invites original thought and inquiry. === All Pages === [[Special:AllPages]] === For the bureaucrat(s) of this wiki === Need help? No problem! We will help you with your wiki as needed. To start, try checking out these helpful links: * [[mw:Special:MyLanguage/Help:Contents|MediaWiki guide]] (e.g. navigation, editing, deleting pages, blocking users) * [[meta:Special:MyLanguage/FAQ|Miraheze FAQ]] * [[meta:Special:MyLanguage/Request features|Request settings changes on your wiki]]. (Extensions, Skin and Logo/Favicon changes should be done through [[Special:ManageWiki]] on your wiki, see [[meta:Special:MyLanguage/ManageWiki|ManageWiki]] for more information.) ==== I still don't understand X! ==== Well, that's no problem. Even if something isn't explained in the documentation/FAQ, we are still happy to help you. You can find us here: * [[meta:Special:MyLanguage/Help center|On our own Miraheze wiki]] * On [[phab:|Phabricator]] * On [https://miraheze.org/discord Discord] * On IRC in #miraheze on irc.libera.chat ([irc://irc.libera.chat/%23miraheze direct link]; [https://web.libera.chat/?channel=#miraheze webchat]) === For visitors of this wiki === Hello, and thank you for visiting this wiki. We are still in the process of developing pages, but feel free to browse or contribute.[[disidentification]] == References == <references/> f729eda3c2fd256cc20dac9b2199b2230ab4e8f5 0 82 1235 855 2023-09-22T12:53:06Z Matrim112830 2 /* Queering Readings */ wikitext text/x-wiki Emily Dickinson was Queer. == Section A == == Section B == == Section C == == Queering Readings == Once, at a reading at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." So I ordered Helen Vendler's commentary on Dickinson and had it shipped back home. I read the first commentary on November 12, 2015. In 2016 I'd start a Ph.D. in Poetry. I wouldn't come back to Vendler until I was done with the program, in May of 2021. It looks like my first notes of "divergence" from Vendler's readings began on the 5th commentary, May 12, 2021 on "Safe in their Alabaster Chambers -". "She alone <nowiki>[(Dickinson)]</nowiki>," Vendler writes, "distinguishes herself from the family flock--the unbeliever commenting on the deluded faithful.<ref>Vendler, Helen. ''Dickinson: Selected Poems &amp; Commentaries''. 2012. </ref>" I took it personal. I knew that Emily loved her family, or at least her sister-in-law, that she was ''in'' love with her sister-in-law. I remember, too reading, that her teachers called her "irredeemable. [citation needed]" Vendler seemed to have a kind of contempt here for Dickinson, or at least my own experience as a queer person of faith kicked out of my church community made me read it that way. As I read on I looked for some acknowledgment of Dickinson's queerness from Vendler, but didn't find it. What I found, though, was what read as misreadings to me, if you just take into account some level of Dickinson's queerness. It feels like the erasing and straightwashing, this "hetero-by-default" garbage that is everywhere in academia and "literature." It feels like homophobia. And so I make little notes as I read a chapter once in a while, as much as I can tolerate. And some of my thoughts are recorded in this section as well. === 420 === [[File:Pleasant Valley Nurseries - 1901 (catalog) (1901) (20561298265).jpg|thumb|A very large, handsome nut, that has been grown in Pennsylvania for many years, and is found so nearly identical with Paragon in growth and fruit that it is not improbable that it was a nut of this variety from which Mr. Schaeffer, of Germantown, grew the original Paragon tree. Comes to fruitage very young, and is an enormous bearer of nuts of very good quality. Ripens October 10 to 25. COOPER. Tree a vigorous grower and very productive ; bur large ; nuts large, smooth and glossy, with little fuzz, usually 3 in a bur ; quality very good. A strikingly handsome nut on account of its dark, glossy appearance.]] There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> Vendler writes that this poem "may obliquely bear on gender." Even as a "gay dude" this poem reads as explicitly about female beauty and eroticism. She writes: "Her poetry, nonetheless, bears witness to the development of an extraordinary spiritual life (193)." I mean, it could. But it's also about lesbians. Who's reading themself into it? Vendler with her spirituality, or me with my queerness? I'd argue Vendler is. She is working off this idea that ED was a lonely, helpless, celibate, recluse. I'm working off this idea that Emily Dickinson Was Queer. Another queer thing about this poem is that it is a riddle. Many of ED's poems have this "if you know you know" quality to them. If you know a chestnut you'll recognize it in this poem. If you don't, you'll never know you didn't know. You could read this poem and think it's just about fruits, but it is (more importantly?) about chestnuts. You could read this poem and think it's just about spirituality, but it's also about queer bodies. == References == <references/> 464ce51059020cef5fd8b3bc92dd13f3fcb4df6a 1236 1235 2023-09-22T12:55:04Z Matrim112830 2 /* Queering Readings */ wikitext text/x-wiki Emily Dickinson was Queer. == Section A == == Section B == == Section C == == Queering Readings == Once, at a reading at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." So I ordered Helen Vendler's commentary on Dickinson and had it shipped back home. I read the first commentary on November 12, 2015. In 2016 I'd start a Ph.D. in Poetry. I wouldn't come back to Vendler until I was done with the program, in May of 2021. It looks like my first notes of "divergence" from Vendler's readings began on the 5th commentary, May 12, 2021 on "Safe in their Alabaster Chambers -". "She <nowiki>[(Dickinson)]</nowiki> alone ," Vendler writes, "distinguishes herself from the family flock--the unbeliever commenting on the deluded faithful.<ref>Vendler, Helen. ''Dickinson: Selected Poems &amp; Commentaries''. 2012. </ref>" I took it personal. I knew that Emily loved her family, or at least her sister-in-law, that she was ''in'' love with her sister-in-law. I remember, too reading, that her teachers called her "irredeemable. [citation needed]" Vendler seemed to have a kind of contempt here for Dickinson, or at least my own experience as a queer person of faith kicked out of my church community made me read it that way. As I read on I looked for some acknowledgment of Dickinson's queerness from Vendler, but didn't find it. What I found, though, was what read as misreadings to me, if you just take into account some level of Dickinson's queerness. It feels like the erasing and straightwashing, this "hetero-by-default" garbage that is everywhere in academia and "literature." It feels like homophobia. And so I make little notes as I read a chapter once in a while, as much as I can tolerate. And some of my thoughts are recorded in this section as well. === 420 === [[File:Pleasant Valley Nurseries - 1901 (catalog) (1901) (20561298265).jpg|thumb|A very large, handsome nut, that has been grown in Pennsylvania for many years, and is found so nearly identical with Paragon in growth and fruit that it is not improbable that it was a nut of this variety from which Mr. Schaeffer, of Germantown, grew the original Paragon tree. Comes to fruitage very young, and is an enormous bearer of nuts of very good quality. Ripens October 10 to 25. COOPER. Tree a vigorous grower and very productive ; bur large ; nuts large, smooth and glossy, with little fuzz, usually 3 in a bur ; quality very good. A strikingly handsome nut on account of its dark, glossy appearance.]] There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> Vendler writes that this poem "may obliquely bear on gender." Even as a "gay dude" this poem reads as explicitly about female beauty and eroticism. She writes: "Her poetry, nonetheless, bears witness to the development of an extraordinary spiritual life (193)." I mean, it could. But it's also about lesbians. Who's reading themself into it? Vendler with her spirituality, or me with my queerness? I'd argue Vendler is. She is working off this idea that ED was a lonely, helpless, celibate, recluse. I'm working off this idea that Emily Dickinson Was Queer. Another queer thing about this poem is that it is a riddle. Many of ED's poems have this "if you know you know" quality to them. If you know a chestnut you'll recognize it in this poem. If you don't, you'll never know you didn't know. You could read this poem and think it's just about fruits, but it is (more importantly?) about chestnuts. You could read this poem and think it's just about spirituality, but it's also about queer bodies. == References == <references/> cb04f341e30a5684de902c379eac289e52eb2593 1237 1236 2023-09-22T13:45:47Z Matrim112830 2 /* Section A */ wikitext text/x-wiki Emily Dickinson was Queer. == Section A == https://www.nastywomenwriters.com/adrienne-rich-emily-dickinson-and-the-loaded-gun-of-poetry/ == Section B == == Section C == == Queering Readings == Once, at a reading at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." So I ordered Helen Vendler's commentary on Dickinson and had it shipped back home. I read the first commentary on November 12, 2015. In 2016 I'd start a Ph.D. in Poetry. I wouldn't come back to Vendler until I was done with the program, in May of 2021. It looks like my first notes of "divergence" from Vendler's readings began on the 5th commentary, May 12, 2021 on "Safe in their Alabaster Chambers -". "She <nowiki>[(Dickinson)]</nowiki> alone ," Vendler writes, "distinguishes herself from the family flock--the unbeliever commenting on the deluded faithful.<ref>Vendler, Helen. ''Dickinson: Selected Poems &amp; Commentaries''. 2012. </ref>" I took it personal. I knew that Emily loved her family, or at least her sister-in-law, that she was ''in'' love with her sister-in-law. I remember, too reading, that her teachers called her "irredeemable. [citation needed]" Vendler seemed to have a kind of contempt here for Dickinson, or at least my own experience as a queer person of faith kicked out of my church community made me read it that way. As I read on I looked for some acknowledgment of Dickinson's queerness from Vendler, but didn't find it. What I found, though, was what read as misreadings to me, if you just take into account some level of Dickinson's queerness. It feels like the erasing and straightwashing, this "hetero-by-default" garbage that is everywhere in academia and "literature." It feels like homophobia. And so I make little notes as I read a chapter once in a while, as much as I can tolerate. And some of my thoughts are recorded in this section as well. === 420 === [[File:Pleasant Valley Nurseries - 1901 (catalog) (1901) (20561298265).jpg|thumb|A very large, handsome nut, that has been grown in Pennsylvania for many years, and is found so nearly identical with Paragon in growth and fruit that it is not improbable that it was a nut of this variety from which Mr. Schaeffer, of Germantown, grew the original Paragon tree. Comes to fruitage very young, and is an enormous bearer of nuts of very good quality. Ripens October 10 to 25. COOPER. Tree a vigorous grower and very productive ; bur large ; nuts large, smooth and glossy, with little fuzz, usually 3 in a bur ; quality very good. A strikingly handsome nut on account of its dark, glossy appearance.]] There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> Vendler writes that this poem "may obliquely bear on gender." Even as a "gay dude" this poem reads as explicitly about female beauty and eroticism. She writes: "Her poetry, nonetheless, bears witness to the development of an extraordinary spiritual life (193)." I mean, it could. But it's also about lesbians. Who's reading themself into it? Vendler with her spirituality, or me with my queerness? I'd argue Vendler is. She is working off this idea that ED was a lonely, helpless, celibate, recluse. I'm working off this idea that Emily Dickinson Was Queer. Another queer thing about this poem is that it is a riddle. Many of ED's poems have this "if you know you know" quality to them. If you know a chestnut you'll recognize it in this poem. If you don't, you'll never know you didn't know. You could read this poem and think it's just about fruits, but it is (more importantly?) about chestnuts. You could read this poem and think it's just about spirituality, but it's also about queer bodies. == References == <references/> 0af206f458af8071662912788dcd674f063d1044 1244 1237 2023-09-25T13:30:33Z Matrim112830 2 wikitext text/x-wiki Emily Dickinson was Queer. == Section A == https://www.nastywomenwriters.com/adrienne-rich-emily-dickinson-and-the-loaded-gun-of-poetry/ https://www.themarginalian.org/2018/12/10/emily-dickinson-love-letters-susan-gilbert/ == Section B == == Section C == == Queering Readings == Once, at a reading at Shakespeare and Company, I heard someone say something like, "You haven't read Emily Dickinson until you've read her through Vendler." So I ordered Helen Vendler's commentary on Dickinson and had it shipped back home. I read the first commentary on November 12, 2015. In 2016 I'd start a Ph.D. in Poetry. I wouldn't come back to Vendler until I was done with the program, in May of 2021. It looks like my first notes of "divergence" from Vendler's readings began on the 5th commentary, May 12, 2021 on "Safe in their Alabaster Chambers -". "She <nowiki>[(Dickinson)]</nowiki> alone ," Vendler writes, "distinguishes herself from the family flock--the unbeliever commenting on the deluded faithful.<ref>Vendler, Helen. ''Dickinson: Selected Poems &amp; Commentaries''. 2012. </ref>" I took it personal. I knew that Emily loved her family, or at least her sister-in-law, that she was ''in'' love with her sister-in-law. I remember, too reading, that her teachers called her "irredeemable. [citation needed]" Vendler seemed to have a kind of contempt here for Dickinson, or at least my own experience as a queer person of faith kicked out of my church community made me read it that way. As I read on I looked for some acknowledgment of Dickinson's queerness from Vendler, but didn't find it. What I found, though, was what read as misreadings to me, if you just take into account some level of Dickinson's queerness. It feels like the erasing and straightwashing, this "hetero-by-default" garbage that is everywhere in academia and "literature." It feels like homophobia. And so I make little notes as I read a chapter once in a while, as much as I can tolerate. And some of my thoughts are recorded in this section as well. === 420 === [[File:Pleasant Valley Nurseries - 1901 (catalog) (1901) (20561298265).jpg|thumb|A very large, handsome nut, that has been grown in Pennsylvania for many years, and is found so nearly identical with Paragon in growth and fruit that it is not improbable that it was a nut of this variety from which Mr. Schaeffer, of Germantown, grew the original Paragon tree. Comes to fruitage very young, and is an enormous bearer of nuts of very good quality. Ripens October 10 to 25. COOPER. Tree a vigorous grower and very productive ; bur large ; nuts large, smooth and glossy, with little fuzz, usually 3 in a bur ; quality very good. A strikingly handsome nut on account of its dark, glossy appearance.]] There are two Ripenings - <br> One - of Sight - whose Forces spheric wind <br> Until the Velvet Product <br> Drop, spicy, to the Ground - <br> <br> A Homelier - maturing - <br> A Process in the Bur - <br> That Teeth of Frosts, alone disclose - <br> On far October Air - <br> <br> Vendler writes that this poem "may obliquely bear on gender." Even as a "gay dude" this poem reads as explicitly about female beauty and eroticism. She writes: "Her poetry, nonetheless, bears witness to the development of an extraordinary spiritual life (193)." I mean, it could. But it's also about lesbians. Who's reading themself into it? Vendler with her spirituality, or me with my queerness? I'd argue Vendler is. She is working off this idea that ED was a lonely, helpless, celibate, recluse. I'm working off this idea that Emily Dickinson Was Queer. Another queer thing about this poem is that it is a riddle. Many of ED's poems have this "if you know you know" quality to them. If you know a chestnut you'll recognize it in this poem. If you don't, you'll never know you didn't know. You could read this poem and think it's just about fruits, but it is (more importantly?) about chestnuts. You could read this poem and think it's just about spirituality, but it's also about queer bodies. == References == <references/> ace74e845f87822ab79f3bb3ada513e8267f3fce 0 217 1238 2023-09-25T12:21:26Z Matrim112830 2 Created page with "Anachronism and queer studies == Section A == See Homosexuality and Renaissance Literature, or the Anxieties of Anachronism<ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” South Central Review, vol. 9, no. 1, 1992, pp. 2–23.</ref> == Section B == == Section C == == Section D == == References == <references/>" wikitext text/x-wiki Anachronism and queer studies == Section A == See Homosexuality and Renaissance Literature, or the Anxieties of Anachronism<ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” South Central Review, vol. 9, no. 1, 1992, pp. 2–23.</ref> == Section B == == Section C == == Section D == == References == <references/> f705f3d75a7a764da83c0ddcab034d925d4dfe34 1239 1238 2023-09-25T12:26:42Z Matrim112830 2 /* Section A */ wikitext text/x-wiki Anachronism and queer studies == Section A == <blockquote>Alan Bray's admonishment that "To talk of an individual in [Renaissance England] as being or not being 'a homosexual' is an anachronism and ruinously misleading" is, of course, literally correct.13 Yet one may neverheless-despite the anxiety of anachronism-demur, at least to the extent of entertaining the possibility that during the English Renaissance some individuals did develop what we would today recognize as a homosexual[...]</blockquote> <ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, p. 5.</ref> See Homosexuality and Renaissance Literature, or the Anxieties of Anachronism<ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, pp. 2–23.</ref> == Section B == == Section C == == Section D == == References == <references/> 78b3bd0d1dbc6629afe9846cc4abe369efe8b34c 1240 1239 2023-09-25T12:27:11Z Matrim112830 2 /* Section A */ wikitext text/x-wiki Anachronism and queer studies == Section A == <blockquote>Alan Bray's admonishment that "To talk of an individual in [Renaissance England] as being or not being 'a homosexual' is an anachronism and ruinously misleading" is, of course, literally correct. Yet one may neverheless-despite the anxiety of anachronism-demur, at least to the extent of entertaining the possibility that during the English Renaissance some individuals did develop what we would today recognize as a homosexual[...] <ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, p. 5.</ref> </blockquote> See Homosexuality and Renaissance Literature, or the Anxieties of Anachronism<ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, pp. 2–23.</ref> == Section B == == Section C == == Section D == == References == <references/> a3579dccb3252352171fa3c2546c928e26ff5d9f 1241 1240 2023-09-25T12:32:08Z Matrim112830 2 /* Section A */ wikitext text/x-wiki Anachronism and queer studies == Section A == <blockquote>Alan Bray's admonishment that "To talk of an individual in [Renaissance England] as being or not being 'a homosexual' is an anachronism and ruinously misleading" is, of course, literally correct. Yet one may neverheless-despite the anxiety of anachronism-demur, at least to the extent of entertaining the possibility that during the English Renaissance some individuals did develop what we would today recognize as a homosexual consciousness [...] <ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, p. 5.</ref> </blockquote> See Homosexuality and Renaissance Literature, or the Anxieties of Anachronism<ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, pp. 2–23.</ref> == Section B == == Section C == == Section D == == References == <references/> 840cd54003816c653fd2cb2b243adca4c399e80f 1242 1241 2023-09-25T12:51:59Z Matrim112830 2 /* Section A */ wikitext text/x-wiki Anachronism and queer studies == Section A == <blockquote>Alan Bray's admonishment that "To talk of an individual in [Renaissance England] as being or not being 'a homosexual' is an anachronism and ruinously misleading" is, of course, literally correct. Yet one may neverheless-despite the anxiety of anachronism-demur, at least to the extent of entertaining the possibility that during the English Renaissance some individuals did develop what we would today recognize as a homosexual consciousness [...] <ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, p. 5.</ref> </blockquote> See Homosexuality and Renaissance Literature, or the Anxieties of Anachronism<ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, pp. 2–23.</ref> <blockquote> Deciding whether Dickinson's refusal is a personal response, a convention of authorial or feminine codes of behavior, or none of the above, readers must acknowledge the problem of distance in time and would do well to heed Hans Robert Jauss's observation that "distance in time is to be put to use and not—as historicism would have it—overcome, that is, abolished through a one-sided transplanting of the self into the spirit of the past." ref>Smith, Martha Nell. “To Fill a Gap: Erasures, Disguises, Definitions.” ''Rowing in Eden: Rereading Emily Dickinson'', University of Texas Press, 1992, p 13.</ref> See also Rowing in Eden <ref>Smith, Martha Nell. “To Fill a Gap: Erasures, Disguises, Definitions.” ''Rowing in Eden: Rereading Emily Dickinson'', University of Texas Press, 1992, pp. 11–50.</ref> == Section B == == Section C == == Section D == == References == <references/> 3ba44d4b099d3281b11c4bd188c3e6a45e7c44ea 1245 1242 2023-09-29T14:47:06Z Matrim112830 2 wikitext text/x-wiki Anachronism and queer studies == Section A == Has there ever been a gay Socrates? Has there ever been a gay Shakespeare? Has there ever been a gay Proust? Does the Pope wear a dress? If these questions startle, it is not least as tautologies. A short answer, though a very incomplete one, might be that not only have there been a gay Socrates, Shakespeare, and Proust but that their names are Socrates, Shakespeare, Proust; and, beyond that, legion-dozens or hundreds of the most centrally canonic figures in what the monoculturalists are pleased to consider "our" culture, as indeed, always in different forms and senses, in every other. What's now in place, in contrast, in most scholarship anf most curricula is an even briefer response to questions like these: Don't ask. Or, less laconically: You shouldn't know. The vast preponderance of scholarship and teaching, accordingly, even among liberal academics, does simply neither ask nor know. At the most expansive, there is a series of dismissals of such questions on the grounds that: # 1. Passionate language of same-sex attraction was extremely common during whatever period is under discussion- and therefore must have been completely meaningless. Or # 2. Same-sex genital relations may have been perfectly common during the period under discussion-but since there was no language about them, they must have been completely meaningless. Or # 3. Attitudes about homosexuality were intolerant back then, unlike now- so people probably didn't do anything. Or # 4. Prohibitions against homosexuality didn't exist back then, unlike now- so if people did anything, it was completely meaningless. Or # 5. The word "homosexuality" wasn't coined until 1869- so everyone before then was heterosexual. (Of course, heterosexuality has always existed.) Or # 6. The author under discussion is certified or rumored to have had an attachment to someone of the other sex- so their feelings about people of their own sex must have been completely meaningless. Or ( under a perhaps somewhat different rule of admissible evidence) # 7. There is no actual proof of homosexuality, such as sperm taken from the body of another man or a nude photograph with another woman- so the author may be assumed to have been ardently and exclusively heterosexual. Or (as a last resort) # 8. The author or the author's important attachments may very well have been homosexual- but it would be provincial to let so insignificant a fact make any difference at all to our understanding of any serious project of life, writing, or thought. These responses reflect, as we have already seen, some real questions of sexual definition and historicity. But they only reflect them and don't reflect on them: the family resemblance among this group of extremely common responses comes from their closeness to the core grammar of Don't ask; You shouldn't know. it didn't happen; it doesn't make any difference; it didn't mean anything;. it doesn't have int~~p~etive con~quences. -S~~p-askingj ust here; stop asking just now; we know in advance th~ of difference that could be made by the invocation of this difference· it makes no difference; it doesn't mean. The most openly repressiv/projects of censorship, such as William Bennett's literally murderous opposition to serious AIDS education in schools on the grounds that it would communicate a tolerance for the lives of homosexuals, are, through this mobilization of the powerful mechanism of the open secret, made perfectly congruent with the smooth, dismissive knowingness of the urbane and the pseudo-urbane. And yet the absolute canonical centrality of the list of authors about whom one might think to ask these questions-What was the structure, function , historical surround of same-sex love in and for Homer or Plato or Sappho? What, then, about Euripides or Virgil? If a gay Marlowe, what about Spenser or Milton? Shakespeare? Byron? But what about Shelley? Montaigne, Leopardi ... ? Leonardo, Michelangelo, but ... ? Beethoven? Whitman, Thoreau, Dickinson (Dickinson?), Tennyson, Wilde, Woolf, Hopkins, but Bronte? Wittgenstein, but ... Nietzsche? Proust, Musil, Kafka, Cather, but . .. Mann? James, but . .. Lawrence? Eliot? but ... Joyce? The very centrality of this list. and its seemingly almost infinite_elasticity suggest that no one can know in advance where the li;;,its of a gay-centered inguiry are to be_ drawn, '!! where a gay theorizing of and through even the hegemonic high culture of the EuroAmerican tradition may need or be able to lead. The emergence, even within the last year or two, of nascent but ambitious programs and courses in gay and lesbian studies, at schools including those of the Ivy League, may now make it possible for the first time to ask these difficult == Section B == <blockquote>Alan Bray's admonishment that "To talk of an individual in [Renaissance England] as being or not being 'a homosexual' is an anachronism and ruinously misleading" is, of course, literally correct. Yet one may neverheless-despite the anxiety of anachronism-demur, at least to the extent of entertaining the possibility that during the English Renaissance some individuals did develop what we would today recognize as a homosexual consciousness [...] <ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, p. 5.</ref> </blockquote> See Homosexuality and Renaissance Literature, or the Anxieties of Anachronism<ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, pp. 2–23.</ref> <blockquote> Deciding whether Dickinson's refusal is a personal response, a convention of authorial or feminine codes of behavior, or none of the above, readers must acknowledge the problem of distance in time and would do well to heed Hans Robert Jauss's observation that "distance in time is to be put to use and not—as historicism would have it—overcome, that is, abolished through a one-sided transplanting of the self into the spirit of the past." ref>Smith, Martha Nell. “To Fill a Gap: Erasures, Disguises, Definitions.” ''Rowing in Eden: Rereading Emily Dickinson'', University of Texas Press, 1992, p 13.</ref> See also Rowing in Eden <ref>Smith, Martha Nell. “To Fill a Gap: Erasures, Disguises, Definitions.” ''Rowing in Eden: Rereading Emily Dickinson'', University of Texas Press, 1992, pp. 11–50.</ref> == Section C == == Section D == == References == <references/> 438199f7b12999ee7e8448f5d5cb45a669969e8d 1246 1245 2023-09-29T14:47:56Z Matrim112830 2 /* Section A */ wikitext text/x-wiki Anachronism and queer studies == Section A == Has there ever been a gay Socrates? Has there ever been a gay Shakespeare? Has there ever been a gay Proust? Does the Pope wear a dress? If these questions startle, it is not least as tautologies. A short answer, though a very incomplete one, might be that not only have there been a gay Socrates, Shakespeare, and Proust but that their names are Socrates, Shakespeare, Proust; and, beyond that, legion-dozens or hundreds of the most centrally canonic figures in what the monoculturalists are pleased to consider "our" culture, as indeed, always in different forms and senses, in every other. What's now in place, in contrast, in most scholarship anf most curricula is an even briefer response to questions like these: Don't ask. Or, less laconically: You shouldn't know. The vast preponderance of scholarship and teaching, accordingly, even among liberal academics, does simply neither ask nor know. At the most expansive, there is a series of dismissals of such questions on the grounds that: # Passionate language of same-sex attraction was extremely common during whatever period is under discussion- and therefore must have been completely meaningless. Or # Same-sex genital relations may have been perfectly common during the period under discussion-but since there was no language about them, they must have been completely meaningless. Or # Attitudes about homosexuality were intolerant back then, unlike now- so people probably didn't do anything. Or # Prohibitions against homosexuality didn't exist back then, unlike now- so if people did anything, it was completely meaningless. Or # The word "homosexuality" wasn't coined until 1869- so everyone before then was heterosexual. (Of course, heterosexuality has always existed.) Or # The author under discussion is certified or rumored to have had an attachment to someone of the other sex- so their feelings about people of their own sex must have been completely meaningless. Or ( under a perhaps somewhat different rule of admissible evidence) # There is no actual proof of homosexuality, such as sperm taken from the body of another man or a nude photograph with another woman- so the author may be assumed to have been ardently and exclusively heterosexual. Or (as a last resort) # The author or the author's important attachments may very well have been homosexual- but it would be provincial to let so insignificant a fact make any difference at all to our understanding of any serious project of life, writing, or thought. These responses reflect, as we have already seen, some real questions of sexual definition and historicity. But they only reflect them and don't reflect on them: the family resemblance among this group of extremely common responses comes from their closeness to the core grammar of Don't ask; You shouldn't know. it didn't happen; it doesn't make any difference; it didn't mean anything;. it doesn't have int~~p~etive con~quences. -S~~p-askingj ust here; stop asking just now; we know in advance th~ of difference that could be made by the invocation of this difference· it makes no difference; it doesn't mean. The most openly repressiv/projects of censorship, such as William Bennett's literally murderous opposition to serious AIDS education in schools on the grounds that it would communicate a tolerance for the lives of homosexuals, are, through this mobilization of the powerful mechanism of the open secret, made perfectly congruent with the smooth, dismissive knowingness of the urbane and the pseudo-urbane. And yet the absolute canonical centrality of the list of authors about whom one might think to ask these questions-What was the structure, function , historical surround of same-sex love in and for Homer or Plato or Sappho? What, then, about Euripides or Virgil? If a gay Marlowe, what about Spenser or Milton? Shakespeare? Byron? But what about Shelley? Montaigne, Leopardi ... ? Leonardo, Michelangelo, but ... ? Beethoven? Whitman, Thoreau, Dickinson (Dickinson?), Tennyson, Wilde, Woolf, Hopkins, but Bronte? Wittgenstein, but ... Nietzsche? Proust, Musil, Kafka, Cather, but . .. Mann? James, but . .. Lawrence? Eliot? but ... Joyce? The very centrality of this list. and its seemingly almost infinite_elasticity suggest that no one can know in advance where the li;;,its of a gay-centered inguiry are to be_ drawn, '!! where a gay theorizing of and through even the hegemonic high culture of the EuroAmerican tradition may need or be able to lead. The emergence, even within the last year or two, of nascent but ambitious programs and courses in gay and lesbian studies, at schools including those of the Ivy League, may now make it possible for the first time to ask these difficult == Section B == <blockquote>Alan Bray's admonishment that "To talk of an individual in [Renaissance England] as being or not being 'a homosexual' is an anachronism and ruinously misleading" is, of course, literally correct. Yet one may neverheless-despite the anxiety of anachronism-demur, at least to the extent of entertaining the possibility that during the English Renaissance some individuals did develop what we would today recognize as a homosexual consciousness [...] <ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, p. 5.</ref> </blockquote> See Homosexuality and Renaissance Literature, or the Anxieties of Anachronism<ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, pp. 2–23.</ref> <blockquote> Deciding whether Dickinson's refusal is a personal response, a convention of authorial or feminine codes of behavior, or none of the above, readers must acknowledge the problem of distance in time and would do well to heed Hans Robert Jauss's observation that "distance in time is to be put to use and not—as historicism would have it—overcome, that is, abolished through a one-sided transplanting of the self into the spirit of the past." ref>Smith, Martha Nell. “To Fill a Gap: Erasures, Disguises, Definitions.” ''Rowing in Eden: Rereading Emily Dickinson'', University of Texas Press, 1992, p 13.</ref> See also Rowing in Eden <ref>Smith, Martha Nell. “To Fill a Gap: Erasures, Disguises, Definitions.” ''Rowing in Eden: Rereading Emily Dickinson'', University of Texas Press, 1992, pp. 11–50.</ref> == Section C == == Section D == == References == <references/> 8586c5bd010562e158434d34e65ecb84c765cfda 1247 1246 2023-09-29T14:48:42Z Matrim112830 2 /* Section A */ wikitext text/x-wiki Anachronism and queer studies == Section A == Has there ever been a gay Socrates? Has there ever been a gay Shakespeare? Has there ever been a gay Proust? Does the Pope wear a dress? If these questions startle, it is not least as tautologies. A short answer, though a very incomplete one, might be that not only have there been a gay Socrates, Shakespeare, and Proust but that their names are Socrates, Shakespeare, Proust; and, beyond that, legion-dozens or hundreds of the most centrally canonic figures in what the monoculturalists are pleased to consider "our" culture, as indeed, always in different forms and senses, in every other. What's now in place, in contrast, in most scholarship anf most curricula is an even briefer response to questions like these: Don't ask. Or, less laconically: You shouldn't know. The vast preponderance of scholarship and teaching, accordingly, even among liberal academics, does simply neither ask nor know. At the most expansive, there is a series of dismissals of such questions on the grounds that: # Passionate language of same-sex attraction was extremely common during whatever period is under discussion- and therefore must have been completely meaningless. Or # Same-sex genital relations may have been perfectly common during the period under discussion-but since there was no language about them, they must have been completely meaningless. Or # Attitudes about homosexuality were intolerant back then, unlike now- so people probably didn't do anything. Or # Prohibitions against homosexuality didn't exist back then, unlike now- so if people did anything, it was completely meaningless. Or # The word "homosexuality" wasn't coined until 1869- so everyone before then was heterosexual. (Of course, heterosexuality has always existed.) Or # The author under discussion is certified or rumored to have had an attachment to someone of the other sex- so their feelings about people of their own sex must have been completely meaningless. Or ( under a perhaps somewhat different rule of admissible evidence) # There is no actual proof of homosexuality, such as sperm taken from the body of another man or a nude photograph with another woman- so the author may be assumed to have been ardently and exclusively heterosexual. Or (as a last resort) # The author or the author's important attachments may very well have been homosexual- but it would be provincial to let so insignificant a fact make any difference at all to our understanding of any serious project of life, writing, or thought. These responses reflect, as we have already seen, some real questions of sexual definition and historicity. But they only reflect them and don't reflect on them: the family resemblance among this group of extremely common responses comes from their closeness to the core grammar of Don't ask; You shouldn't know. it didn't happen; it doesn't make any difference; it didn't mean anything;. it doesn't have int~~p~etive con~quences. -S~~p-askingj ust here; stop asking just now; we know in advance th~ of difference that could be made by the invocation of this difference· it makes no difference; it doesn't mean. The most openly repressiv/projects of censorship, such as William Bennett's literally murderous opposition to serious AIDS education in schools on the grounds that it would communicate a tolerance for the lives of homosexuals, are, through this mobilization of the powerful mechanism of the open secret, made perfectly congruent with the smooth, dismissive knowingness of the urbane and the pseudo-urbane. And yet the absolute canonical centrality of the list of authors about whom one might think to ask these questions-What was the structure, function , historical surround of same-sex love in and for Homer or Plato or Sappho? What, then, about Euripides or Virgil? If a gay Marlowe, what about Spenser or Milton? Shakespeare? Byron? But what about Shelley? Montaigne, Leopardi ... ? Leonardo, Michelangelo, but ... ? Beethoven? Whitman, Thoreau, Dickinson (Dickinson?), Tennyson, Wilde, Woolf, Hopkins, but Bronte? Wittgenstein, but ... Nietzsche? Proust, Musil, Kafka, Cather, but . .. Mann? James, but . .. Lawrence? Eliot? but ... Joyce? The very centrality of this list. and its seemingly almost infinite_elasticity suggest that no one can know in advance where the li;;,its of a gay-centered inguiry are to be_ drawn, '!! where a gay theorizing of and through even the hegemonic high culture of the EuroAmerican tradition may need or be able to lead. The emergence, even within the last year or two, of nascent but ambitious programs and courses in gay and lesbian studies, at schools including those of the Ivy League, may now make it possible for the first time to ask these difficult == Section B == <blockquote>Alan Bray's admonishment that "To talk of an individual in [Renaissance England] as being or not being 'a homosexual' is an anachronism and ruinously misleading" is, of course, literally correct. Yet one may neverheless-despite the anxiety of anachronism-demur, at least to the extent of entertaining the possibility that during the English Renaissance some individuals did develop what we would today recognize as a homosexual consciousness [...] <ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, p. 5.</ref> </blockquote> See Homosexuality and Renaissance Literature, or the Anxieties of Anachronism<ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, pp. 2–23.</ref> <blockquote> Deciding whether Dickinson's refusal is a personal response, a convention of authorial or feminine codes of behavior, or none of the above, readers must acknowledge the problem of distance in time and would do well to heed Hans Robert Jauss's observation that "distance in time is to be put to use and not—as historicism would have it—overcome, that is, abolished through a one-sided transplanting of the self into the spirit of the past." ref>Smith, Martha Nell. “To Fill a Gap: Erasures, Disguises, Definitions.” ''Rowing in Eden: Rereading Emily Dickinson'', University of Texas Press, 1992, p 13.</ref> See also Rowing in Eden <ref>Smith, Martha Nell. “To Fill a Gap: Erasures, Disguises, Definitions.” ''Rowing in Eden: Rereading Emily Dickinson'', University of Texas Press, 1992, pp. 11–50.</ref> == Section C == == Section D == == References == <references/> e922983453e531986bbd4358d437d499f7272d15 1248 1247 2023-09-29T14:56:30Z Matrim112830 2 /* Section A */ wikitext text/x-wiki Anachronism and queer studies == Eve Sedgwick == From ''Epistemology of the Closet'' <ref>Sedgwick, Eve Kosofsky. Epistemology of the Closet. United States, University of California Press, 2008, pp. 52-53.</ref> Has there ever been a gay Socrates? Has there ever been a gay Shakespeare? Has there ever been a gay Proust? Does the Pope wear a dress? If these questions startle, it is not least as tautologies. A short answer, though a very incomplete one, might be that not only have there been a gay Socrates, Shakespeare, and Proust but that their names are Socrates, Shakespeare, Proust; and, beyond that, legion-dozens or hundreds of the most centrally canonic figures in what the monoculturalists are pleased to consider "our" culture, as indeed, always in different forms and senses, in every other. What's now in place, in contrast, in most scholarship anf most curricula is an even briefer response to questions like these: Don't ask. Or, less laconically: You shouldn't know. The vast preponderance of scholarship and teaching, accordingly, even among liberal academics, does simply neither ask nor know. At the most expansive, there is a series of dismissals of such questions on the grounds that: # Passionate language of same-sex attraction was extremely common during whatever period is under discussion- and therefore must have been completely meaningless. Or # Same-sex genital relations may have been perfectly common during the period under discussion-but since there was no language about them, they must have been completely meaningless. Or # Attitudes about homosexuality were intolerant back then, unlike now- so people probably didn't do anything. Or # Prohibitions against homosexuality didn't exist back then, unlike now- so if people did anything, it was completely meaningless. Or # The word "homosexuality" wasn't coined until 1869- so everyone before then was heterosexual. (Of course, heterosexuality has always existed.) Or # The author under discussion is certified or rumored to have had an attachment to someone of the other sex- so their feelings about people of their own sex must have been completely meaningless. Or ( under a perhaps somewhat different rule of admissible evidence) # There is no actual proof of homosexuality, such as sperm taken from the body of another man or a nude photograph with another woman- so the author may be assumed to have been ardently and exclusively heterosexual. Or (as a last resort) # The author or the author's important attachments may very well have been homosexual- but it would be provincial to let so insignificant a fact make any difference at all to our understanding of any serious project of life, writing, or thought. These responses reflect, as we have already seen, some real questions of sexual definition and historicity. But they only reflect them and don't reflect on them: the family resemblance among this group of extremely common responses comes from their closeness to the core grammar of Don't ask; You shouldn't know. it didn't happen; it doesn't make any difference; it didn't mean anything;. it doesn't have interpretive consquences. Stop asking just here; stop asking just now; we know in advance the kind of difference that could be made by the invocation of this difference· it makes no difference; it doesn't mean. The most openly repressive projects of censorship, such as William Bennett's literally murderous opposition to serious AIDS education in schools on the grounds that it would communicate a tolerance for the lives of homosexuals, are, through this mobilization of the powerful mechanism of the open secret, made perfectly congruent with the smooth, dismissive knowingness of the urbane and the pseudo-urbane. And yet the absolute canonical centrality of the list of authors about whom one might think to ask these questions-What was the structure, function , historical surround of same-sex love in and for Homer or Plato or Sappho? What, then, about Euripides or Virgil? If a gay Marlowe, what about Spenser or Milton? Shakespeare? Byron? But what about Shelley? Montaigne, Leopardi ... ? Leonardo, Michelangelo, but ... ? Beethoven? Whitman, Thoreau, Dickinson (Dickinson?), Tennyson, Wilde, Woolf, Hopkins, but Bronte? Wittgenstein, but ... Nietzsche? Proust, Musil, Kafka, Cather, but . .. Mann? James, but . .. Lawrence? Eliot? but ... Joyce? The very centrality of this list. and its seemingly almost infinite_elasticity suggest that no one can know in advance where the limits of a gay-centered inquiry are to be drawn, or where a gay theorizing of and through even the hegemonic high culture of the EuroAmerican tradition may need or be able to lead. The emergence, even within the last year or two, of nascent but ambitious programs and courses in gay and lesbian studies, at schools including those of the Ivy League, may now make it possible for the first time to ask these difficult questions from within the very heart of the empowered cultural institutions to which they pertain, as well as from the marginal and endangered institutional positions from which, for so long, the most courageous work in this area has emanated. == Section B == <blockquote>Alan Bray's admonishment that "To talk of an individual in [Renaissance England] as being or not being 'a homosexual' is an anachronism and ruinously misleading" is, of course, literally correct. Yet one may neverheless-despite the anxiety of anachronism-demur, at least to the extent of entertaining the possibility that during the English Renaissance some individuals did develop what we would today recognize as a homosexual consciousness [...] <ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, p. 5.</ref> </blockquote> See Homosexuality and Renaissance Literature, or the Anxieties of Anachronism<ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, pp. 2–23.</ref> <blockquote> Deciding whether Dickinson's refusal is a personal response, a convention of authorial or feminine codes of behavior, or none of the above, readers must acknowledge the problem of distance in time and would do well to heed Hans Robert Jauss's observation that "distance in time is to be put to use and not—as historicism would have it—overcome, that is, abolished through a one-sided transplanting of the self into the spirit of the past." ref>Smith, Martha Nell. “To Fill a Gap: Erasures, Disguises, Definitions.” ''Rowing in Eden: Rereading Emily Dickinson'', University of Texas Press, 1992, p 13.</ref> See also Rowing in Eden <ref>Smith, Martha Nell. “To Fill a Gap: Erasures, Disguises, Definitions.” ''Rowing in Eden: Rereading Emily Dickinson'', University of Texas Press, 1992, pp. 11–50.</ref> == Section C == == Section D == == References == <references/> a74500e6e8c5464d82663734c667363e5cb47520 1249 1248 2023-09-29T14:57:38Z Matrim112830 2 wikitext text/x-wiki Anachronism and queer studies == Eve Sedgwick == From ''Epistemology of the Closet'' <ref>Sedgwick, Eve Kosofsky. Epistemology of the Closet. United States, University of California Press, 2008, pp. 52-53.</ref> Has there ever been a gay Socrates? Has there ever been a gay Shakespeare? Has there ever been a gay Proust? Does the Pope wear a dress? If these questions startle, it is not least as tautologies. A short answer, though a very incomplete one, might be that not only have there been a gay Socrates, Shakespeare, and Proust but that their names are Socrates, Shakespeare, Proust; and, beyond that, legion-dozens or hundreds of the most centrally canonic figures in what the monoculturalists are pleased to consider "our" culture, as indeed, always in different forms and senses, in every other. What's now in place, in contrast, in most scholarship anf most curricula is an even briefer response to questions like these: Don't ask. Or, less laconically: You shouldn't know. The vast preponderance of scholarship and teaching, accordingly, even among liberal academics, does simply neither ask nor know. At the most expansive, there is a series of dismissals of such questions on the grounds that: # Passionate language of same-sex attraction was extremely common during whatever period is under discussion- and therefore must have been completely meaningless. Or # Same-sex genital relations may have been perfectly common during the period under discussion-but since there was no language about them, they must have been completely meaningless. Or # Attitudes about homosexuality were intolerant back then, unlike now- so people probably didn't do anything. Or # Prohibitions against homosexuality didn't exist back then, unlike now- so if people did anything, it was completely meaningless. Or # The word "homosexuality" wasn't coined until 1869- so everyone before then was heterosexual. (Of course, heterosexuality has always existed.) Or # The author under discussion is certified or rumored to have had an attachment to someone of the other sex- so their feelings about people of their own sex must have been completely meaningless. Or ( under a perhaps somewhat different rule of admissible evidence) # There is no actual proof of homosexuality, such as sperm taken from the body of another man or a nude photograph with another woman- so the author may be assumed to have been ardently and exclusively heterosexual. Or (as a last resort) # The author or the author's important attachments may very well have been homosexual- but it would be provincial to let so insignificant a fact make any difference at all to our understanding of any serious project of life, writing, or thought. These responses reflect, as we have already seen, some real questions of sexual definition and historicity. But they only reflect them and don't reflect on them: the family resemblance among this group of extremely common responses comes from their closeness to the core grammar of Don't ask; You shouldn't know. it didn't happen; it doesn't make any difference; it didn't mean anything;. it doesn't have interpretive consquences. Stop asking just here; stop asking just now; we know in advance the kind of difference that could be made by the invocation of this difference· it makes no difference; it doesn't mean. The most openly repressive projects of censorship, such as William Bennett's literally murderous opposition to serious AIDS education in schools on the grounds that it would communicate a tolerance for the lives of homosexuals, are, through this mobilization of the powerful mechanism of the open secret, made perfectly congruent with the smooth, dismissive knowingness of the urbane and the pseudo-urbane. And yet the absolute canonical centrality of the list of authors about whom one might think to ask these questions-What was the structure, function , historical surround of same-sex love in and for Homer or Plato or Sappho? What, then, about Euripides or Virgil? If a gay Marlowe, what about Spenser or Milton? Shakespeare? Byron? But what about Shelley? Montaigne, Leopardi ... ? Leonardo, Michelangelo, but ... ? Beethoven? Whitman, Thoreau, Dickinson (Dickinson?), Tennyson, Wilde, Woolf, Hopkins, but Bronte? Wittgenstein, but ... Nietzsche? Proust, Musil, Kafka, Cather, but . .. Mann? James, but . .. Lawrence? Eliot? but ... Joyce? The very centrality of this list. and its seemingly almost infinite_elasticity suggest that no one can know in advance where the limits of a gay-centered inquiry are to be drawn, or where a gay theorizing of and through even the hegemonic high culture of the EuroAmerican tradition may need or be able to lead. The emergence, even within the last year or two, of nascent but ambitious programs and courses in gay and lesbian studies, at schools including those of the Ivy League, may now make it possible for the first time to ask these difficult questions from within the very heart of the empowered cultural institutions to which they pertain, as well as from the marginal and endangered institutional positions from which, for so long, the most courageous work in this area has emanated. == Section B == <blockquote>Alan Bray's admonishment that "To talk of an individual in [Renaissance England] as being or not being 'a homosexual' is an anachronism and ruinously misleading" is, of course, literally correct. Yet one may neverheless-despite the anxiety of anachronism-demur, at least to the extent of entertaining the possibility that during the English Renaissance some individuals did develop what we would today recognize as a homosexual consciousness [...] <ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, p. 5.</ref> </blockquote> See Homosexuality and Renaissance Literature, or the Anxieties of Anachronism<ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, pp. 2–23.</ref> <blockquote> Deciding whether Dickinson's refusal is a personal response, a convention of authorial or feminine codes of behavior, or none of the above, readers must acknowledge the problem of distance in time and would do well to heed Hans Robert Jauss's observation that "distance in time is to be put to use and not—as historicism would have it—overcome, that is, abolished through a one-sided transplanting of the self into the spirit of the past." ref>Smith, Martha Nell. “To Fill a Gap: Erasures, Disguises, Definitions.” ''Rowing in Eden: Rereading Emily Dickinson'', University of Texas Press, 1992, p 13.</ref></blockquote> See also Rowing in Eden <ref>Smith, Martha Nell. “To Fill a Gap: Erasures, Disguises, Definitions.” ''Rowing in Eden: Rereading Emily Dickinson'', University of Texas Press, 1992, pp. 11–50.</ref> == Section C == == Section D == == References == <references/> 84ccaa5a1285ea86a991cef3664f54eca73fcaf1 1250 1249 2023-09-29T14:58:16Z Matrim112830 2 /* Section B */ wikitext text/x-wiki Anachronism and queer studies == Eve Sedgwick == From ''Epistemology of the Closet'' <ref>Sedgwick, Eve Kosofsky. Epistemology of the Closet. United States, University of California Press, 2008, pp. 52-53.</ref> Has there ever been a gay Socrates? Has there ever been a gay Shakespeare? Has there ever been a gay Proust? Does the Pope wear a dress? If these questions startle, it is not least as tautologies. A short answer, though a very incomplete one, might be that not only have there been a gay Socrates, Shakespeare, and Proust but that their names are Socrates, Shakespeare, Proust; and, beyond that, legion-dozens or hundreds of the most centrally canonic figures in what the monoculturalists are pleased to consider "our" culture, as indeed, always in different forms and senses, in every other. What's now in place, in contrast, in most scholarship anf most curricula is an even briefer response to questions like these: Don't ask. Or, less laconically: You shouldn't know. The vast preponderance of scholarship and teaching, accordingly, even among liberal academics, does simply neither ask nor know. At the most expansive, there is a series of dismissals of such questions on the grounds that: # Passionate language of same-sex attraction was extremely common during whatever period is under discussion- and therefore must have been completely meaningless. Or # Same-sex genital relations may have been perfectly common during the period under discussion-but since there was no language about them, they must have been completely meaningless. Or # Attitudes about homosexuality were intolerant back then, unlike now- so people probably didn't do anything. Or # Prohibitions against homosexuality didn't exist back then, unlike now- so if people did anything, it was completely meaningless. Or # The word "homosexuality" wasn't coined until 1869- so everyone before then was heterosexual. (Of course, heterosexuality has always existed.) Or # The author under discussion is certified or rumored to have had an attachment to someone of the other sex- so their feelings about people of their own sex must have been completely meaningless. Or ( under a perhaps somewhat different rule of admissible evidence) # There is no actual proof of homosexuality, such as sperm taken from the body of another man or a nude photograph with another woman- so the author may be assumed to have been ardently and exclusively heterosexual. Or (as a last resort) # The author or the author's important attachments may very well have been homosexual- but it would be provincial to let so insignificant a fact make any difference at all to our understanding of any serious project of life, writing, or thought. These responses reflect, as we have already seen, some real questions of sexual definition and historicity. But they only reflect them and don't reflect on them: the family resemblance among this group of extremely common responses comes from their closeness to the core grammar of Don't ask; You shouldn't know. it didn't happen; it doesn't make any difference; it didn't mean anything;. it doesn't have interpretive consquences. Stop asking just here; stop asking just now; we know in advance the kind of difference that could be made by the invocation of this difference· it makes no difference; it doesn't mean. The most openly repressive projects of censorship, such as William Bennett's literally murderous opposition to serious AIDS education in schools on the grounds that it would communicate a tolerance for the lives of homosexuals, are, through this mobilization of the powerful mechanism of the open secret, made perfectly congruent with the smooth, dismissive knowingness of the urbane and the pseudo-urbane. And yet the absolute canonical centrality of the list of authors about whom one might think to ask these questions-What was the structure, function , historical surround of same-sex love in and for Homer or Plato or Sappho? What, then, about Euripides or Virgil? If a gay Marlowe, what about Spenser or Milton? Shakespeare? Byron? But what about Shelley? Montaigne, Leopardi ... ? Leonardo, Michelangelo, but ... ? Beethoven? Whitman, Thoreau, Dickinson (Dickinson?), Tennyson, Wilde, Woolf, Hopkins, but Bronte? Wittgenstein, but ... Nietzsche? Proust, Musil, Kafka, Cather, but . .. Mann? James, but . .. Lawrence? Eliot? but ... Joyce? The very centrality of this list. and its seemingly almost infinite_elasticity suggest that no one can know in advance where the limits of a gay-centered inquiry are to be drawn, or where a gay theorizing of and through even the hegemonic high culture of the EuroAmerican tradition may need or be able to lead. The emergence, even within the last year or two, of nascent but ambitious programs and courses in gay and lesbian studies, at schools including those of the Ivy League, may now make it possible for the first time to ask these difficult questions from within the very heart of the empowered cultural institutions to which they pertain, as well as from the marginal and endangered institutional positions from which, for so long, the most courageous work in this area has emanated. == Section B == <blockquote>Alan Bray's admonishment that "To talk of an individual in [Renaissance England] as being or not being 'a homosexual' is an anachronism and ruinously misleading" is, of course, literally correct. Yet one may neverheless-despite the anxiety of anachronism-demur, at least to the extent of entertaining the possibility that during the English Renaissance some individuals did develop what we would today recognize as a homosexual consciousness [...] <ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, p. 5.</ref> </blockquote> See Homosexuality and Renaissance Literature, or the Anxieties of Anachronism<ref>Summers, Claude J. “Homosexuality and Renaissance Literature, or the Anxieties of Anachronism.” ''South Central Review'', vol. 9, no. 1, 1992, pp. 2–23.</ref> <blockquote> Deciding whether Dickinson's refusal is a personal response, a convention of authorial or feminine codes of behavior, or none of the above, readers must acknowledge the problem of distance in time and would do well to heed Hans Robert Jauss's observation that "distance in time is to be put to use and not—as historicism would have it—overcome, that is, abolished through a one-sided transplanting of the self into the spirit of the past." <ref>Smith, Martha Nell. “To Fill a Gap: Erasures, Disguises, Definitions.” ''Rowing in Eden: Rereading Emily Dickinson'', University of Texas Press, 1992, p 13.</ref></blockquote> See also Rowing in Eden <ref> Smith, Martha Nell. “To Fill a Gap: Erasures, Disguises, Definitions.” ''Rowing in Eden: Rereading Emily Dickinson'', University of Texas Press, 1992, pp. 11–50.</ref> == Section C == == Section D == == References == <references/> ac53a01787c1d944b6290708be580f4afb7369a6 0 21 1243 109 2023-09-25T12:53:07Z Matrim112830 2 wikitext text/x-wiki Queer Time is == In A Queer Time and Place == == Queer Utopia/Disidentification == == Related == see also [[Anachronism and queer studies]] == References == <references/> 757266ae0f5dbdfc1ef17b14332c0259b83760ab